Simone Young, Marin Alsop, Susanna Mälkki, Emmanuelle Haïm, Karina Kanellakis Mirga Grazinyte-Tyla, Eun Sun Kim, Joana Mallwitz, Elim Chan and Oksana Lyniv. Here is a solid top ten of veteran, established or even young female conductors who are pursuing brilliant careers but who, as women, still require express recognition in the arduous process of claiming parity with regard to a position. historically masculinized as is the podium.
Keri-Lynn Wilson and Lidiya Yankovskaya could be added to that list. And in the not too distant future, to this young promise called Stephanie Childress, a 24-year-old Franco-British that L’Auditori has chosen as the next main guest of the OBC and who in September will take over from the also celebrated Marta Gardolinska, who is garnering good reviews in his second season in Barcelona.
The machinery towards parity has been put into motion unstoppably in recent years, but its good progress suffers from any mishap. As happens on other fronts, women conductors have to demonstrate their worth without cracks, otherwise the appropriateness of a feminist policy applied to musical quality is called into question.
Without going any further, the negative criticism that the Mexican Alondra de la Parra has received for her performance, these days, in front of the Simfònica del Liceu doing Turandot may be completely justified, but instead of being read as another anomaly on the circuit general of orchestral conducting, tend to be seen as a result of the application of gender policies in art. As if we had to regret a haste in the parity process.
“Hurry is never good and natural selection exists in men and women: only the best will pass,” says Víctor García de Gomar, artistic director of the Liceu. Some will fall by the wayside, but the most important thing is that this revolution is accepted. There will be resistance, but we must take the next step,” he adds.
De Gomar remembers that we have known a History of Music translated into masculine. The interpretations only had the gaze of the man and the presence of the interpreter was relegated to the background. “The second half of the 20th century has left us looking at old scores with a new impulse from historical criteria. I believe that in the 21st century we are facing a new revolution: the incorporation of the feminine perspective throughout the repertoire. Women are making very unique creative contributions, incorporating sensitivity, energy and new perspectives. Because the way to keep classical music alive is with the infinite rereading of the canon from different perspectives. The time has come to abandon prejudices and fears; “women represent the most significant response in the art world.”
But what premises are necessary to achieve this parity on the musical podiums in total control of quality?
“The first parity that must be achieved is between assistant conductors. It is in this position where the possibilities exist for some of the candidates to grow to become great orchestra conductors. In the first phase, parity should be achieved among attendees. “This is a very important position, the basis of a solid career,” says the artistic director of the Teatro Real, Joan Matabosch, who in a few months will have Mirga.
For Robert Brufau, director of L’Auditori, betting on a change that breaks with the prevailing paradigm always entails risks. “It is not enough for schools to be equal, the sector must offer more opportunities, both in relation to large agencies and large auditoriums and orchestras.”
When he decides to bet on someone young, as is the case of Stephanie Childress, Brufau says he takes into account different aspects: which orchestras he has conducted and with what results; What opinion does the sector have? how it will work with her orchestra; “What harmony there may be on an artistic level and what growth in the coming years.”
Of course, it is very different to assume tenure, like the one Kanellakis took at the London Philharmonic in 2020, and another to be the guest conductor for a few weeks. But there are young people assuming relevant positions: Klaus Mäkelä, Tarmo Peltokoski or Joana Mallwitz. “In the end, all the established and renowned artists were also young people that someone took a chance on,” Brufau recalls.