Lidiya Yankovskaya
DALLAS, JUNE 5, 2015 – The Dallas Opera is proud to announce the names of the six distinguished professionals selected to participate in the inaugural session of the Institute for Women Conductors at The Dallas Opera: Jennifer Condon (Australia/Germany, Jessica Gethin (Australia), Natalie Murray Beale (UK), Stephanie Rhodes (USA), Anna Skryleva (Russia/Germany), and Lidiya Yankovskaya (USA).
Working to address a long-standing career issue in the opera world, The DallasOpera is launching a unique, new residential program designed to provide training and career support for distinctively talented women conductors. Female conductors age forty and younger, as well as accomplished women singers, opera coaches and accompanists, and instrumentalists with established careers seeking a new career at the podium, were encouraged to apply.
Applicants from 27 countries included principal and assistant conductors, concertmasters and music staff from top-ranked symphonies, opera companies, and conservatories.
“As a female conductor,” explained IWC Fellow Anna Skryleva, “I’m interested, of course, in programs supporting women—there are still so few of them; I don’t know of any other program of this type in the opera field. These days in Dallas promise to be very intensive.”
Jennifer Condon heartily agreed, writing: “The Dallas Opera’s recognition of the need for encouragement and support of women conductors is fabulous. The programme – so generously offered – touches on all aspects relevant to a career in conducting. So far as I am aware, there is no programme of its kind anywhere else in the world.
“I simply leapt at the chance to be included.”
“I was so thrilled to see The Dallas Opera offer such an innovative initiative for female conductors to further develop their opera skills on the podium,” responded Jessica Gethin. “As a young, female, Australian conductor based in Perth, the opportunity to be a part of the inaugural Institute for Women Conductors is invaluable at this stage of my conducting career.
“Through a generous combination of intense masterclasses on the podium with international mentors, seminars on the challenges we face within the industry and networking opportunities provided, I am looking forward to developing my technical skills and broadening my repertoire knowledge in a uniquely supportive environment and earning my place as an alumna in this brilliant and vital program, watching it grow and nurture the careers of many female conductors from around the world.
“I can’t wait to get my hands on the scores,” added Ms. Gethin, “and head over to the other side of the globe to get started!”
This new institute will be inaugurated on November 28, 2015 and run through December 6, 2015, with key support from the Richard and Enika Schulze Foundation.
The IWC will consist of master classes and one-on-ones with Dallas Opera Music Director Emmanuel Villaume and Principal Guest Conductor Nicole Paiement; seminars, discussions, and networking opportunities; as well as the chance to conduct The Dallas Opera Orchestra in a public concert performance the evening of December 5, 2015 onstage in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in Dallas, Texas.
When asked what she hoped to gain from the experience, Stephanie Rhodes replied: “Everything! The insights of both Emmanuel Villaume and Nicole Paiement into conducting technique, interpretation, and the various business aspects of the profession are something I imagine will be invaluable, given the wealth of experience they bring to the table.
“I’m particularly looking forward to building relationships with fellow female conductors,” Ms. Rhodes added, “as I think the support, strength, and perspective we can offer each other now will be critical throughout our careers.”
IWC Fellow Natalie Murray Beale expressed similar sentiments: “This program is a vital acknowledgement of female conducting talent and a rare opportunity for women conductors.
“I have great hopes to develop my conducting at the Institute for Women Conductors at The Dallas Opera and to make new, positive working relationships with artists and managers alike. I look forward,” she added, “to emerging a stronger and more visible conductor.”
In addition to the six Institute participants, four more conductors – all from the United States – have been invited to observe the proceedings. They are: Arianne Abela, Luçik Aprahämian, Avlana Eisenberg and Co Boi Nguyen.
Those attending will also be encouraged to take part in an annual two-day networking event, beginning in the summer of 2016.
Stated Dallas Opera General Director and CEO Keith Cerny: “The Dallas Opera has demonstrated, in multiple ways, its commitment to reshaping the opera field through the use of innovative public outreach, by exploring new technologies, commissioning new works to expand the operatic repertoire, and programming with passion and imagination.”
“This much-needed program,” Mr. Cerny added, “will enable more women conductors to add their talents and insights to our collective understanding of this art form, while encouraging conversation about the necessity of women in leadership roles.”
The Dallas Opera’s Principal Guest Conductor, Nicole Paiement, who also serves as the Artistic Director and Conductor for San Francisco’s renowned contemporary opera company, Opera Parallèle, commented, “In tandem with my work as a professional conductor, I have spent many years striving to develop and support exceptional young talent, both onstage and in the orchestra pit. I am tremendously pleased to be able to continue this aspect of my career in a leadership role here in Dallas, and to be responsible for guiding each carefully selected group through this newly developed Dallas Opera program.
“The women taking part in this program will have the all-too-rare opportunity to observe another woman in this leadership role, “ Paiement added, “something that, regrettably, I never experienced in my early career as I sought role models from among my professional peers. I sincerely hope my work with the women in this institute can serve as a source of both valuable insights and inspiration.”
Marc A. Scorca, President and CEO of OPERA America, remarked: “The Dallas Opera continues to expand its influence and stature among American opera companies, as shown by this exciting new initiative. The company is to be applauded for taking a significant step to remedy the existing gender imbalance on the podium. This effort complements OPERA America’s support of the work of female opera composers and promises to enrich the art form by encouraging more gifted artists to express themselves through opera.”
Lidiya Yankovskaya, another IWC Fellow, wrote: “The Dallas Opera is known for doing innovative and exciting work that has placed the company at the forefront of American Opera and continues to inspire many within the field, myself included. I relish the opportunity to see this work from the inside and to learn from the company’s phenomenal leadership.
“Taking part in Dallas Opera’s program for Women Conductors will be crucial in giving me the push I need to gain exposure and move forward into more regular high- level work in the opera world. The institute will not only provide the opportunity to receive experience working with the company’s fantastic artists and feedback on my work, but it also represents a chance to gain exposure, and to discover how to make the leap into the next career level.”
Internationally renowned Dallas Opera Music Director Emmanuel Villaume observed: “No conductor ever stands at the podium alone. We raise our baton with those who came before us, and those who will follow in our footsteps.
“It takes a lifetime to become completely at home on the podium,” Villaume adds. “It was my privilege to be guided and taught by geniuses like Spiros Argiris and Seiji Ozawa, who, in turn, always quoted their own masters. In fact, they claimed that, only near the end of their performing careers, did they entirely understand some of the comments and advice they received from their mentors.
“We are always trying to perfect our work. I feel I am now at a place in my career, where I can begin to effectively share my experiences with the next generation of conductors.”