Who’s got the most women conductors?

HarrisonParrott have signed Nil Venditti in the hottest undeclared race in the music business.

Stand by for an AskonasHolt sprint to the finish.

From HP:
Nil Venditti was awarded First Prize at the national Premio Claudio Abbado for Young Musicians in 2015 at the age of twenty. She also was awarded one of the top prizes and the orchestra-prize at the Jeunesses Musicales Competition in Bucharest with the Orchestra Filarmonica George Enescu in 2017.

Former principal cello of the Santa Cecilia Youth Orchestra in Rome, Nil has been taught and mentored by conductors including Paavo Järvi, Neeme Järvi, Leonid Grin, Bernard Haitink, Donato Renzetti and Jonathan Stockhammer. She has been selected to participate in the Gstaad Conducting Academy under the guidance of Manfred Honeck in Summer 2019.

 

share this

Share on facebook
Share on twitter
Share on linkedin
Share on google
  • the more I read such a news the more I think that classical music is doomed (such as a mankind also). But what could we expect in the era of marketing and “one-minute stars”?

    • “One-minute stars”. Brilliant. The classical music establishment and even those who consider themselves disruptors thus outsiders to the establishment (until they become the establishment) keep adopting pop/rock music culture marketing prescriptions but none of it is working. You know, the unprecedented dearth of vocal stars etc etc etc and all that.

      • Just listen to the students in conservatories hooting and hollering for each other as if they are rock stars. Not learning to behave with class and call out Bravo! as we once did. Once rock took over as the paradigm of achievement, all was doomed.

  • Footrace is the wrong metaphor. The real question is, who has the most “in their stable”.

    These are the men (and perhaps women, why not?) to envy. The rest is noise.

  • The fact that they are being signed up at a much faster rate than men is not a cause for celebration. The ultimate aim of meritocracy (which his of course, by extension, the ultimate aim of musical employment), is not of an equality in outcome, but an equality in opportunity. This is being missed by a majority of people interested in the next generation of conductors. People, regardless of gender or sex, should be employed/signed/honoured, due to their musical abilities, and those abilities alone

    • And maybe people are actually listening to the women’s musicianship more now and realizing that there are a LOT of incredible female musicians that just weren’t given a chance to be heard or seen.

  • May I ask the question: Who cares who has the most women conductors? Shouldn’t the question be: Who has the best conductors?

    That is all.

  • >