Crossing the line of dreams

Roxanna Panufnik and I have been working on our first collaboration since Silver Birch. It's being premiered this week in Baltimore under the joint batons of Marin Alsop and Valentina Peleggi. Yes, both of them. It's for double choir, double orchestra and two conductors. And it is about two powerful women (by which I don't mean either them or us, at least not first of all...).

Harriet Tubman
source: National Geographic

Rani Lakshmibai of Jhansi, India, and Harriet Tubman, who saved hundreds from slavery in America before, during and after the Civil War, obviously never met in real life. But they were near-contemporaries and both gave their lives to the cause of freedom for their people. Harriet Tubman lived to a ripe old age and was venerated as 'Moses'. Rani Lakshmibai was killed in battle at the age of 29. The Rani has recently been the subject of a major biopic, but we wrote this piece before we knew about that. Harriet Tubman's previous musical incarnations include a whole opera by the wonderful Thea Musgrave, which is long overdue for a revival or three.

Rani Lakshmibai
Source: Real Bharat

The piece is called Across the Line of Dreams and you can hear it in three concerts on 14, 15 and 16 March, the first in the Music Center at Strathmore, the other two at Meyerhoff Symphony Hall in Baltimore. The Baltimore Symphony Orchestra is joined by the University of Maryland Concert Choir. More info and booking here.

Here is an introduction to the piece, which Roxanna and I have written for the programme. We hope you'll enjoy this extraordinary dream meeting...

ACROSS THE LINE OF DREAMS – Celebrating Harriet Tubman & Rani Lakshmibai

Words: Jessica Duchen (JD)                      Music: Roxanna Panufnik (RP)

JD: In Across the Line of Dreams, two choirs with two conductors tell the stories of two extraordinary women who gave everything to save their people.

Harriet Tubman and Rani Lakshmibai came from opposite sides of the world and, of course, never met - but they had more in common than you might think. 

Both were born in the 1820s. Each decided to fight for her people’s freedom. Each underwent a change of name, symbolising a new, altered state of being. Each held fast to her faith. And each risked her life for a cause greater than herself. Both have passed into the realms of legend.

RP: Each heroine is represented by one conductor, one choir and half of the orchestra – Harriet has woodwinds, brass and percussion and Lakshmibai is accompanied by harp, piano and strings.

JD: Born Araminta (‘Minty’) Ross in Dorchester County, Maryland, around 1822, Harriet Tubman fled slavery in 1849 and became active in the ‘underground railroad’, a network that aided the escape of slaves from the deep south of the US, via which she helped to rescue dozens. Having taken her husband John Tubman’s surname, she adopted her mother’s first name to reinvent herself. She was nicknamed ‘Moses’ for leading her people to freedom. She died in 1913 aged about 90. 

RP: Harriet was fervently Christian, so some of her music has a hymn-like quality with a drone figuration often heard in spirituals. Not much is known about her ancestry, but it is believed that her maternal grandmother, Modesty, was brought to the US on a slave ship from West Africa and was thought to be of the Asante (a.k.a. Ashanti) tribe, who came from Ghana. Therefore I’ve used Ghanaian drum patterns to drive her music. While researching Asante music, I came across Joseph S. Kaminski’s excellent book Asante Ntahera Trumpets in Ghana– in it, he has transcribed a signature motif, from Asantehene’s mmentia musicians“Atoto wore sane” which means: “We are removing the knot”. This refers to a legendry knot that could only be untied by the true ruler, yet can also describe Harriet’s brave missions. 

Manikarnika in childhood
Source: Real Bharat

JD: Rani Lakshmibai was born Manikarnika Tambe in Varanasi, by the Ganges, in 1828. Married off to the Rani of the princely state of Jhansi, she took the crown after her husband’s death. Their only child died in infancy, after which she adopted a young boy, Damodar, intending him to inherit her throne. The controlling British East India Company refused to recognise him as heir and attempted to exile Lakshmibai. When a major rebellion took place against the British in 1857, and was horribly crushed, she led her forces into battle herself. She died of her wounds, aged only 29. A British officer paid tribute to Lakshmibai after her death, terming her “the bravest and the best”. 

RP: There is a famous lament “Babul Mora” about Lakshmibai, written by the Nawab of Lucknow, after the battle in which she lost her life. It mourns her leaving her family and all she knows behind, as she is taken away to be married to Gangadhar Rao, and it now exists in many versions. It was originally written in the Bhairavi mode, with which I have created my own lament. I have also composed my own “Powada” – a popular heroic or military ballad, which was used to eulogize heroic leaders. Again there are many examples of this form, but a common musical thread is a declamatory delivery of repeated singenotes, followed by a descending scale (for which I’ve used the Bhairav, Purvi and Ãsãvan modes). We finish, at the end of Lakshmibai’s life, with a return to the Bhairavi lament.

JD: Across the Line of Dreamsis in three parts. The first section is devoted to Harriet Tubman. There follows a contrasting episode telling the story of Rani Lakshmibai. Finally we imagine a dialogue showing the two women’s similarities, differences and inspirational natures. 

RP: This is where the two conductors come to the fore – Harriet’s music is in 4 and Lakshmibai’s simultaneously in 5. I was determined that while these two women retained their unique musical identities, they would merge to create a driving energy.

Acknowledgements

RP: I am deeply grateful to Joseph Kaminski for allowing me to use his transcription of “Atoto wore sane” and to the Asantehene who, through Kaminski, authorized the use of this chant for educational and artistic purposes. Also to Justin Scarimbolo for 19^thcentury Indian music, Richard Williams & Richard Widdess for their introduction to Powadas and James Gardner for trying, heroically, to teach me Ghanaian drumming. Thank you, most of all, to Marin Alsop and Valentina Peleggi for commissioning the work, along with Baltimore Symphony Orchestra. Jessica and I have loved every step of this process.

JD & RP, 11^thDecember 2018

Deeds, Not Words: a guest post by Zerlina Vulliamy

Music student Zerlina Vulliamy was playing the trumpet in the WOW Women of the World Women's Orchestra on Sunday in the annual Mirth Control concert at the RFH, presented by Sandi Toksvig. She was so inspired by the occasion that she wanted to write about it. I couldn't be there myself this time, annoyingly, so I am very grateful to her for covering it for us. 'Mirth Control' is part of the Southbank Centre's year-round work to give a platform to female musicians, artists and more. JD

Sandi and the WOW Orchestra

Deeds Not Words

By Zerlina Vulliamy

I am a self-confessed hypocrite. I realised this on Sunday 11 March, when playing the trumpet as part of the Women of the World Orchestra in the ‘Mirth Control’ event at the Royal Festival Hall, conducted by Alice Farnham. The orchestra was about to play a piece by the British composer Elisabeth Lutyens, titled ‘Overture (En Voyage)’, but before this, the presenter Sandi Toksvig informed the audience of the difficulty the orchestra manager experienced trying to get the score and parts of this music. After contacting many publishers, archives and libraries she finally managed to track it down and distribute the parts to those of us in the orchestra. However, this was on the harsh condition that they were to be used for one performance only and had to be destroyed afterwards. Naturally, those of us on stage and in the audience expressed concern at such a tragedy – first, that the work of an excellent composer was so difficult to find, but also that it might be never be performed again. Sandi herself strongly called on all of us to support this cause of the forgotten women composers, a message that featured prevalently throughout the evening.

Jude Kelly, the WOW Orchestra and some inspiration

Yet whilst I was sitting there, thinking about how limited the representation of women in the arts still is, I suddenly realised that I too was contributing, without realising, to this archaic canon which consists entirely of male composers. I present a weekly show on music called Behind the Classics at the University of Oxford’s student radio station, and I thought I was helping the cause by dedicating an entire episode to raising awareness of relatively unknown female musicians such as Mel Bonis and Melba Liston for International Women’s Day. Yet I too have unknowingly contributed to the tradition of playing music entirely by men in a few episodes. 

This is ridiculous when you think about it, seeing as women make up half the population and there are millions of female musicians throughout history to the present, all with music worth playing to an audience. And yet, because of the music I have been exposed to throughout my life, whether it be classical, jazz, hip hop or others, at the time it seemed normal not to feature a single woman in an episode.

The RFH is decked for the occasion

Well, to quote the slogan appearing on red carpets recently: time’s up. As Sandi Toksvig said herself at ‘Mirth Control’ - it seems absurd that still, in 2018, women are so under-represented in the arts, as well as other fields. She showed the audience many slides which projected shocking statistics, such as the percentages of women composers and conductors who featured at the 2017 BBC Proms, which was 7.5% and 11% respectively. Tragically, women have often been discouraged throughout history from picking up a pen and writing, or from standing on a podium and conducting. 

Perhaps the important work being done by the WOW festival, which encourages women to strive for success in all fields across the globe, will help rectify the situation. The WOW Orchestra consists entirely of excellent women who are students, young professionals or amateurs; we were also joined by the Voicelab choir, conducted by Jessie Maryon Davies for this event. The music that featured was by a large host of female composers such as Dame Ethel Smyth’s ‘Serenade in D’, Nina Simone’s ‘Mississippi Goddamn’ and ‘Revolution’ featuring Josette Bushell-Mingo’s stunning vocals and the song ‘What’s Up’ by 4 Non Blondes.

From my own perspective, it was truly an inspiring night, with some hilariously memorable moments such as Sandi’s masterclass with Marin Alsop, or the conducting relay where students of Alice Farnham’s ‘Women Conductors with the Royal Philharmonic Society’ had the chance to conduct the orchestra for a few bars each. The perfect balance was cast between humour and more earnest moments, such as the profound words Jude Kelly, the founder of WOW and Artistic Director of the Southbank, had to say about her own rather difficult past of being a prominent woman in the arts. Yet more importantly, she proved herself to be an inspiring figure when talking passionately about how optimistic she was for the future. 

Some more of the hand-stitched banners

This message must have been powerful to those in the audience, looking at the huge number of women on stage (over 300) against the backdrop of 50 hand-stitched banners, each inspired by historic Suffragette posters. As a female brass player myself, one of the most empowering moments of the night was playing the ‘Fanfare for the Uncommon Woman’ by Joan Tower, with the brass section of the WOW Orchestra, conducted by Alice Farnham. More often than not I have been the only woman in an all-male brass section, hence why it was most refreshing to play in such a fantastic section made up entirely of women. I hope it proved to those who were watching that women fundamentally deserve equality in music, and perhaps inspired young girls out there to pick up a brass instrument.

After a brilliant evening, there was certainly a positive buzz in the foyer afterwards. Sandi Toksvig managed to leave us all in good spirits, with a fundamental message of hope: that raising awareness is the next step. To quote the slogan of the brave Suffragettes, who achieved a measure of equality exactly 100 years ago with the Representation of the People Act (which gave the vote to men over 21 and women over 30 who owned property), we need ‘Deeds Not Words’. 

So to anyone reading this, I urge you to do something to try and raise the profile of all the wonderful women composers out there, whether it be attending concerts run by organisations who have pledged a 50/50 balance or even by word of mouth – talking about women composers will not only put their names in people’s minds but also will hopefully encourage publishers and concert programmers to promote them to a place where equality exists. I myself will do what I can but the more there are devoted to the cause, the better. To quote Jude Kelly, if you can do anything to promote women musicians: “Pass It On”!

ZV

Zerlina Vulliamy, 19, is a writer, broadcaster, trumpeter/singer and composer from London. She is currently in her first year studying Music at the University of Oxford where she produces and presents a weekly radio show on music called Behind the Classics on Oxide Radio: all episodes are available at www.oxideradio.live/behind-the-classics 

Marin takes Vienna

Marin Alsop's selfie from the Last Night of the Proms

Heartening news this morning that Marin Alsop has been appointed chief conductor of the ORF Vienna Radio Symphony Orchestra. Vienna, despite all the glories of its musical history, has never exactly been renowned for the heights of its progressive gender egalitarianism, so this announcement carries some extra heft. She'll be taking over from Cornelius Meister and will assume the post on 1 September 2019 for an initial three years - and will, of course, be the orchestra's first female chief conductor.

Now we need more splendid conductors who happen to be female to be elevated to prominent posts, where they will be worth their weight in gold both as role models for the future and as musicians in their own right and their orchestras'. Incidentally, there may well be some London orchestra jobs up for grabs in the next few years - one of them appears to have a vacancy right now - and the opportunity will be staring them in the face. Let's hope a manager or two has the foresight to approach the right person.

Jude Kelly, as you know, is leaving Southbank Centre to concentrate her energies on WOW - the Women of the World Festival. In a thoughtful interview with the Guardian the other day, she said it's not enough to be a feminist: you have to do something.

To that end, I've done something very small that I hope will be reasonably useful: I've added a sidebar section here on JDCMB devoted to resources for women in the music world. You can use this as a one-stop-shop to click through to sources of funding like the PRS Foundation's Women Make Music and the Ambache Charitable Trust, courses like RPS Women Conductors, projects like Dallas Opera's Women Conductors Institute and more. I'm on the lookout for links to add, so if you know of one that ought to be there please send it my way, preferably via Facebook or Twitter. This is about organisations that can offer support and development to many, rather than individual artists' websites. But you'll also find there a link to my Women Conductors List (it runs to well over 100 names and sites) and that is always open to updating with individual names. Thanks very much for taking a look.

Thanks, too, for the powerful response to yesterday's shoulder post. I now have recommendations of at least 10 different osteopaths!


If you've enjoyed this post, please support JDCMB at GoFundMe here

How I didn't quite meet Helen Mirren, and other stories

This is one busy week.

If you missed me and Marin Alsop on BBC Radio 4 Woman's Hour yesterday, you can listen to it online, here http://www.bbc.co.uk/programmes/b06z4w7r. We're the very first item on the programme, talking about the bizarre story of the Schumann Violin Concerto, its suppression and its recovery, and Marin's view of the music, and my novel. But with much regret, we didn't meet Helen Mirren in the Green Room!

Meanwhile, we all enjoyed the excellent discussion evening, Music into Words, on Tuesday at Senate House. It proved extremely stimulating and seems to have got everyone's grey matter into a tingle. Simon Brackennorough talked about his site, Corymbus, and why he created it; Mary Nguyen revealed that she attended 64 operas last year, blogging and reviewing for online outlets; I took a fond look back to the days of galley proofs and cowgum, marvelled over the opportunities the internet has brought our way and speculated on the likelihood that writing about music really is like dancing about architecture. Imogen Tilden of The Guardian told us about some of the harsh realities of traditional print journalism.

Audience questions were plentiful and fascinating and prompted revelations from the fact, cited by Simon, that medieval historians are a lot better at social media than the traditional classical world (with the possible exceptions of Stephen Hough, Steven Isserlis and Peter Donohoe); and when asked who we are writing for - who our "internal reader" really is - a temporarily psychoanalytical reaction revealed to me that mine is actually my mum (even though she died 22 years ago next week).

Frances Wilson of The Cross-Eyed Pianist, who chaired the discussion, had everything filmed, so here is my chunk, and you can find Simon's here and more from Mary here.

How Marin is changing the world

A few weeks ago I went to listen to Marin Alsop giving masterclasses for young women conductors and had a terrific interview with her. She is not one to pull her punches on "the women conductors thing". The piece is in the Independent today, ahead of her concerts with the OAE in Basingstoke on Thursday and the Royal Festival Hall on Saturday - the one with the Schumann Violin Concerto.

I'm delighted to say that she and I will be on BBC Radio 4 'Woman's Hour' tomorrow to talk about the story of the Schumann Violin Concerto. Plus I'm now joining the panel for the pre-concert talk at the RFH on Saturday (5.45pm) where we'll be discussing music, mental illness, Schumann, the Concerto and more.

Here's a taster of the article and you can read the rest here.

Marin Alsop's selfie at the Last Night of the Proms

Some conductors who are female are outraged if one raises “the women conductors thing”. Why are we still talking about this? Isn't it time to forget it and just get on with making music? Alsop, though, faces the issue head on – and she is perfectly happy to bring it out into the open. 

“People ask why a course like this is necessary, and I think it's a disingenuous question,” she says. “It's only necessary because of the reality. It's not something I'm making up. I'm just reacting to the landscape.” There is no point, she suggests, trying to deny that there are too few women conductors, or that they face problems different from those experienced by their male colleagues – both in terms of that glass ceiling protecting prestigious posts and in how the details of their artistry are perceived.

“Because I have quite a thick skin, I don't mind being the one out front, trying to elbow my way in,” she adds. “But I think, as that person out front, it's important for me to create a pathway for people coming through. I don't want it to be so hard for the next generations.”

Eight and a half days...

I have a busy week ahead! Please come and join in if you can make it to any of these. One, of course, only involves your kitchen radio.

TUESDAY, 2 FEBRUARY: MUSIC INTO WORDS
Fran Wilson of The Cross-Eyed Pianist has organised a wonderful evening at Senate House, Bloomsbury, in which five speakers - academic Mark Berry (Boulezian), blogger and editor Simon Brackenbury (Corymbus), journalist Mary Nguyen, Imogen Tilden of The Guardian, and I - will be speaking about the agonies and ecstasies and everything in between of writing about music, and doing our best to answer audience questions. Is it really like dancing about architecture? The event is now sold out, but you can still take part by tweeting your questions with the hashtag #musicintowords. More info at the Facebook page here.

THURSDAY 4 FEBRUARY: JD & MARIN ALSOP ON BBC RADIO 4 'WOMAN'S HOUR'
I'm honoured to be joining Marin Alsop in the Woman's Hour studio to talk about Schumann, the Violin Concerto and Jelly d'Arányi. The confluence of GHOST VARIATIONS and the OAE's performance of the concerto on Saturday night seems a perfect excuse and I'm really pleased this is happening. Listen online here.

SATURDAY 6 FEBRUARY: SCHUMANN VIOLIN CONCERTO
It's the Schumann Violin Concerto at the Royal Festival Hall! I'm looking forward to attending this with a group of GHOST VARIATIONS supporters. (You can also hear this programme in Basingstoke on Thursday 4 February.) http://www.oae.co.uk

SUNDAY 7 FEBRUARY: ALICIA'S GIFT AT ST MARY'S, PERIVALE
Viv McLean and I are giving the first of our three February ALICIA'S GIFT performances - 3pm at St Mary's Perivale, my favourite "sacred space" place. The 12th-century church, tucked away behind the A40, is worth a visit in itself, but it's a fabulous venue to enjoy music at intimate quarters, so if you're a west Londoner or you just fancy coming to check it out, please join us. The programme also includes some gorgeous songs from soprano Sarah Gabriel with Viv at the piano. The story of the child prodigy pianist Alicia and her impact upon her family forms the second half of the concert. Admission free, with a collection at the end.

TUESDAY 9 FEBRUARY: ALICIA'S GIFT AT HAMPTON COURT HOUSE
Viv and I are taking ALICIA'S GIFT to Hampton Court House - an extraordinary historical venue across the road from Hampton Court Palace. It's a magnificent mansion that these days is home to an interesting international school whose headmaster, Guy Holloway, has been in the news recently advocating a later start to the school day for teenagers. After the performance we're having a panel discussion about child prodigies, in which Guy will take part along with myself and Hugh Mather, artistic director of St Mary's Perivale, who I'm sure has encountered prodigies aplenty. 7pm arrival for 7.30pm, tickets available on the door.


Speaking of prodigies...I'm mildly disconcerted to discover that the latest on the scene, little Alma Deutscher, has a father who shares a name with that of my Alicia. Besides sharing her own initial. This is pure and mere, if weird, coincidence. She was born in 2005, the year I started writing ALICIA'S GIFT. Alma has been playing her own violin concerto with some big orchestras and has been signed up by Askonas Holt aged 10. Here's what happened when David Lister at the Independent met her last week. 

Why the male domination of classical music may be coming to an end...

What I've been writing this week. 

http://www.theguardian.com/music/2015/feb/28/why-male-domination-of-classical-music-might-end

My first (real) Last Night

I was here the other night... Yep, Last Night of the Proms. Sneaky admission: I've been watching it on TV for decades, thinking about how amazing it must be to experience it. Last time I tried to go it was 2001, two days after 9/11, and the entire jamboree was ditched. This, though, was the real thing.

There's nothing else like it anywhere else, that's for sure. It may be crazy - it is crazy - but still, it felt like a true celebration of everything that we've experienced in that hall in the last two months, and of everything it stands for: great music for all, shared with love, open enthusiasm and absolute dedication.

There couldn't have been finer choices for the soloists. Nigel Kennedy, in case you wondered, is a truly mesmerising violinist. Nigel is Nigel and you take him as you find him: what other musician would trot on for the LNOP in a football shirt and carrying a cup of tea? Yet if his appearance bothers you, that's your problem, not his, because his playing is exquisite. The Lark Ascending was hushed, loving, sensitive, breathtaking. As for the Csardas, those who object to improvisatory interjections might do well to reflect that that is the genuine bit. Vittorio Monti is fake Gypsy music; Nigel improvising is the real thing. Nigel gets away with everything he gets away with - even bursting one of Marin's pink balloons with his bow - because he is a bloody incredible musician. Like it or lump it.

No sartorial questions over the divine Joyce DiDonato, who wore a blood-red Vivienne Westwood gown in the first half, and glittering peach in the second (left: curtain call), and delivered singing of such glory that it was a privilege to hear her, let alone sing along in 'You'll Never Walk Alone'. She dedicated Somewhere Over the Rainbow to the LGBT community "whose voices are being silenced" - handling this by explaining on social media beforehand rather than announcing from the platform, which I suspect will be the way of the future (nuff said...).

The whole evening was in fact a great celebration of inclusivity. Music was included from Handel to Anna Clyne. A woman (indeed, a gay woman) conducted the event for the first time ever, and judged the content of her speech to perfection. Bernstein's  Chichester Psalms are sung in Hebrew - and how beautiful they are, and how marvellous Iestyn Davies was as soloist. Nigel did his Gypsy improvisation alongside rare Brit composers Granville Bantock and George Lloyd (read about the astonishing story of that piece here). (Missed the sea shanties, though.) Verdi was there - the chorus of the Hebrew Slaves; and Wagner too - the overture to Die Meistersinger, the only one of his major operas that doesn't seem to have been bustin' out all over this year; and Britten, in The Building of the House and his arrangement of the national anthem to close.

What, then, of all those patriotic songs? Well, if you try to sing 'Land of Hope and Glory' but, for any reason, even if you are waving a flag (my nice Scottish neighbour, hedging her bets, had brought both, so she lent me the Union Jack), you just can't do the words properly given the reality outside the hall, it won't be noticed amid a crowd of 5000+ if you change them a teeny bit, in good and appropriate spirit, so... All together now:

"I LOVE EDWARD ELGAR,
HE'S THE MAN FOR ME!
HE'S OUR GREATEST COMPOSER
AS TONIGHT WE SEE..."

The important thing, though, is not the words. It's the singing. I believe I have tracked the magic of the Last Night, and it is not what we sing, but the fact that we do sing, and we all sing together, and we are the audience but we are joining in the concert ourselves, with the world's top musicians. And that's the ultimate in sharing music. And that, dear friends, is what the thrill of the Last Night is all about.

Over and out.

Fanfare for the uncommon woman conductor

Following that rather daft public row about Vassily Petrenko's alleged remarks re women conductors, I thought we'd do something constructive. I spent some of yesterday afternoon tweeting the names and websites of as many women conductors as I could think of. You all wrote in with suggestions and we ended up with a very fine list indeed. Special thanks to my doughty colleague Toby Deller, who also had the good sense to introduce a hashtag. [NB I am still updating the list below - plenty more of them! So please keep tweeting the missing links and keep checking back for our additions...]

A few of the conclusions to draw here are as follows.

1. There are more women conductors than you think. People believe our dear Marin Alsop is the only one. She ain't.

2. They don't often get the important dates that will be reviewed. Some people want to blame us journalists for their lack of recognition, but with concert review space tighter than it has ever been in history, it is usually the "big gigs" that get the attention, and the women conductors - with the exception of Marin and the Last Night of the Proms - are not being given the big gigs.

3. The women conductors I know are heartily sick of being asked why there aren't more women conductors - mostly because there are.They would like, please, recognition first and foremost and, ideally, only for their work as musicians, regardless of gender...

4. [Update, 5 Sept, 13:49] I think that's what's emerging here, as the list steams on with well over 50 names and rising, is that there are plenty of women who are conductors, but one heck of a glass ceiling regarding where they work. [Update, 7 October, 18:49 - the list is now NEARLY 100 strong! Thank you to everybody who has written in to contribute!]

In no particular order, here's the march of the women.

Zoi Tsokanou. http://www.zoitsokanou.com
Was in Gustav Mahler Bamberg competition this year & Haitink masterclasses in Lucerne.

Monica Buckland Hofstetter http://www.buckland.ch/english/news.htm …
British-Swiss, formerly in charge of conducting chorus & orchestra at the University of Dresden, now based in Newcastle-upon-Tyne.

Jessica Cottis http://jessicacottis.com
Young Australian-British conductor whose name came up more often in suggestions on Twitter yesterday than anyone else's.

Anu Tali http://www.harrisonparrott.com/artist/profile/anu-tali …
Estonian suprema, music director of Sarasota Orchestra & Nordic Symphony Orchestra.

Julia Jones: http://www.rayfieldallied.com/artists/julia-jones/
Admired Brit, extremely well recognised in Germany, did Cosi at Covent Garden not so long ago.

Xian Zhang. http://www.harrisonparrott.com/artist/profile/xian-zhang …
I have loved the performances of hers that I've heard at ENO.

Simone Young http://www.simoneyoung.com/titel/
Extremely well-established, has been chief conductor at the Hamburg Opera (just leaving now).

Eve Queler http://www.evequeler.com
New York-based operatic expert.

JoAnn Falletta http://www.joannfalletta.com
Music director of the Ulster Orchestra.

Suzi Digby http://www.suzidigby.com/
That ultimate mover and shaker of choirs and galvaniser of community and youth music.

Nia Llewellyn Jones @niallewellynj
Young conductor fresh out of Cambridge, being nurtured by CBSO.

Jane Glover: http://www.janeglover.co.uk
Arch-Mozartian and author.

Sian Edwards http://www.ingpen.co.uk/artist/sian-edwards/ …
She is head of conducting at the Royal Academy of Music.

Susanna Mälkki http://www.harrisonparrott.com/artist/profile/susanna-malkki …  
Much-admired principal conductor of the Helsinki Philharmonic and principal guest conductor of Los Angeles Philharmonic. 

Alondra de la Parra http://alondradelaparra.com/  
Among much else, an official cultural ambassador for Mexican tourism.

Emmanuelle Haim http://www.leconcertdastree.fr/  
Extraordinary Baroque specialist from France.

Kelly Lovelady http://kellylovelady.com
From Australia, with an unforgettable name.

Odaline de la Martinez http://www.lorelt.co.uk/lontano/odaline.htm …
Founder of Lontano.

Mirga Grazinyte-Tyla http://www.cami.com/?webid=2551
Music director of the City of Birmingham Symphony Orchestra.

Kristiina Poska http://www.rbartists.at/en/dirigenten_dtl.php?id=486&TACookie=rv3a0901nslhali2lc4gai8035 …
Prizewinning Estonian who's been rising fast, not least via the Komische Oper, Berlin

Ewa Strusinska http://www.ewastrusinska.com  
Spent some time with the Halle and now works internationally from Poland 

Jeanne Lamon http://www.tafelmusik.org/about/orchestra/bios/jeanne-lamon … 
Baroque marvel, head of Tafelmusik

Sarah Ioannides http://sarahioannides.net/  
Born in Australia, grew up in the UK, now based in the US.

Tania Miller http://www.hughkaylor.com/Miller-Tania-Bio.html
 Music director of the Victoria Symphony Orchestra, Canada

Claire Gibault http://clairegibault.fr/  http://en.wikipedia.org/wiki/Claire_Gibault …
Both conductor and MEP!

Barbara Hannigan http://www.barbarahannigan.com/
This extraordinary soprano, star of Benjamin's Written on Skin, is also a conductor.

Gemma New http://www.gemmanew.com/
Assistant conductor at New Jersey SO

Rebecca Miller http://www.rebeccamiller.net/
London-based US conductor

Alice Farnham http://www.alicefarnham.com/
Music director of Welsh National Youth Opera for Paul Bunyan this year

Akiko Ohtomo http://hokusaiorchestra.com/test/prof.html
Director of the Hokusai Orchestra (formed in 2010)

Anne Manson http://www.annemanson.com/
Among much else, she was the first woman to conduct at the Salzburg Festival

Yip Wing-Sie http://en.wikipedia.org/wiki/Yip_Wing-sie
Music director of the Hong Kong Sinfonietta

Sybille Werner http://www.ljova.com/sybille.htm
Mahler authority

Alicja Mounk http://www.dirigentinnen.de/1mounk.htm
A long and distinguished career

Holly Mathieson http://www.hollymathieson.com/
Young New Zealander, based in Berlin

Monique Krus http://401nederlandseoperas.nl/en/componisten/208-monique-krues.html
Dutch conductor, composer and soprano (site above doesn't mention the conducting, but she is recommended by a friend who saw her conduct last week)

Laurence Equilbey http://www.laurenceequilbey.com/
Fine French maestra, especially noted for opera. Another one for the appropriate-names department.

Jennifer Condon http://www.owlsnestopera.com.au/?page_id=6
Music director of the wonderfully-titled Owl's Nest Opera in Austalia

Karen Kamensek http://www.lewin-management.com/artists/18_Karen+Kamensek/englishbio
Music director of Staatstheater Hannover

Carolyn Watson http://www.carolyn-watson.com/biog.html
Orchestra director, Interlochen Arts Academy

Han-Na Chang http://www.harrisonparrott.com/artist/profile/han-na-chang
She's the most fabulous cellist and now she's become a conductor!

Mei-Anne Chen http://meiannchen.com/
Music director of Chicago Sinfonietta and Memphis Symphony

Joana Carneiro http://imgartists.com/artist/joana_carneiro
Music director, Berkeley Symphony

Amy Bebbington http://www.amybebbington.co.uk/4.html
Choral specialist

Laura Jackson http://www.laurajackson.net/web/home.aspx
Music director, Reno Philharmonic

Halldis Rønning http://www.harmonien.no/default.aspx?pageId=33
Assistant conductor, Bergen Philharmonic

Carolyn Kuan http://www.hartfordsymphony.org/about/music-director/
Music director, Hartford Symphony

Matilda Hofman http://www.esm.rochester.edu/iml/spotlight/spotlight_may_2008_hoffman.php
Music director, Diablo Symphony, California

Nicolette Fraillon http://www.australianballet.com.au/about_us/artistic_staff/nicolette_fraillon
Music director & chief conductor of Australian Ballet

Sarah Grace Williams http://www.sarahgracewilliams.com/
Chief conductor & artistic director, The Metropolitan Orchestra, Sydney

Speranza Scappucci http://www.icartists.co.uk/artists/speranza-scappucci
Is opening the forthcoming Scottish Opera season with Don Giovanni

Susan Hollingworth http://www.sinenom.com/bio.html
Conductor of Sine Nomine Choir and much more

Sarah Baldock http://en.wikipedia.org/wiki/Sarah_Baldock
Master of the choristers & organist at Chichester Cathedral. One of the first women ever to be appointed at one.

Katherine Dienes-Williams http://www.katherinedienes.com/KD/Welcome.html
Master of the choristers & organist at Guildford Cathedral (see above)

Sarah Macdonald http://www.sel.cam.ac.uk/chapel/People/
Director of Music in Chapel, Selwyn College, Cambridge.

Kim Diehnelt http://www.kimdiehnelt.com/
Music director & chief conductor, Northwest Symphony Orchestra, US

Jeri Lynne Johnson http://www.jerilynnejohnson.com/web/home.aspx
Founder & conductor, Black Pearl Chamber Orchestra, US

Isabelle Ruf-Weber http://www.dirigentinnen.de/1rufwe.htm
German conductor based in Baden-Wurttemberg

Sinead Hayes http://www.sineadhayes.com/
Young Irish conductor who opened the RTE Concert Orchestra's summer lunchtime concert series.

Roberta Peroni http://www.linkedin.com/pub/roberta-peroni/28/44b/58a 
Conductor & chorus manager in Bari, Italy.

Talia Ilan http://www.taliailan.com/bio.aspx
Music director of the Israel Stage Orchestra & guest conductor with many Israeli orchestras.

Ewa Michnik http://www.opera.wroclaw.pl/1/index.php?lang=_pl&page=4&perf_id=1
Director, Opera Wroclaw, Poland.

Eun Sun Kim http://www.lewin-management.com/artists/19_Eun+Sun+Kim/englishbio
Is conducting Die Fledermaus at ENO this season.

Maja Matelska http://majametelska.com/en/
Polish conductor, has scooped quite a few competition prizes.

Marzena Diakun http://diakun.com/en/biography/
Polish, winner of 2nd prize in last year's Fitelberg Competition, and highly recommended by one of my colleagues who's in the know.

Gisele Ben-Dor http://www.giseleben-dor.com/
Israeli conductor laureate of Santa Barbara Symphony Orchestra

Victoria Bond http://victoriabond.com/
American composer and conductor. Her website says she has been staying in the guest flat at Brahms's house near Baden-Baden (this has long been my own aspiration!) and writing an opera about Clara Schumann.

Rei Hotada http://reihotoda.com
Has been assistant conductor at the Dallas Symphony and has been making important debuts around the US & Canada this season.

Sarah Hicks http://sarahhicksconductor.com/web/bio.aspx
Staff conductor at the Curtis Institute, Philadelphia, among much else.

Anna Skryleva http://www.annaskryleva.com/annaskryleva/Home.html
Russian, has been working in some fine German opera houses including Karlsruhe & Hamburg

Tara Simoncic http://www.greenwichsymphony.org/tara-simoncic-associate-conductor
Young American conductor, has been featured in the Guardian

Amelia LeClair http://www.brandeis.edu/wsrc/scholars/profiles/leclair.html
Scholar and early music choral conductor, based at Brandeis University

Nicole Paiement http://music.ucsc.edu/faculty/nicole-paiement
Director of Ensembles, University of California Santa Cruz.

Rosemary Thomson http://okanagansymphony.com/about/music-director/2997/
Music director, Okanagan Symphony.

Dalia Atlas http://www.dalia-atlas.com/Biography.html
From Haifa. Has recorded a lot of Bloch.

Graziella Contratto http://www.graziellacontratto.com/
Swiss conductor with a fine track record.

Jessica Gethin http://perthsymphony.com/2012/09/20/perth-symphony-orchestra/
Principal conductor of the Perth Symphony Orchestra, Australia

Carolin Nordmeyer http://www.theater-augsburg.de/content.php?backlink=L2NvbnRlbnQucGhwP25hdj0zNCZzdWI9MzYmL011c2lrdGhlYXRlci9FbnNlbWJsZS5odG1s&sel=1&mitID=240
Theater Augsburg, Germany

Alissa Firsova http://alissafirsova.com/
Multi-talented composer, conductor and pianist. Daughter of the composers Dimitri Smirnov and Elena Firsova.

Nathalie Stutzmann http://www.nathaliestutzmann.com/
The noted French mezzo-soprano is conducting as well. 

Andrea Quinn http://www.andreaquinn.com/
British conductor, now based in the US. Was chief conductor at New York City Ballet, then at Norrlands Operan, Sweden.

Anne Marie Granau http://www.linkedin.com/in/annemariegranau
Chorus master at Royal Danish Opera, Copenhagen

Silvia Sanz Torre http://www.silviasanz.com/silviasanz/index.php
Spanish conductor - intrigued to see she has conducted rare Albeniz opera The Magic Opal.

Kate Tamarkin http://www.ktamarkin.com/ktprofile.htm
Music director, Charlottesville and Univesity Symphony Orchestra, Charlottesville, US

Natalia Luis-Bassa http://www.natalialuisbassa.blogspot.co.uk/
Venezuelan conductor in the UK. Hit headlines a few years ago by walking out on the Huddersfield Philharmonic due to interpersonal problems with players being "disrespectful". Was a mentor in BBC's Maestro series. Teaches at RCM.

Sarah Tenant-Flowers http://www.tenantflowers.co.uk/
Choral conductor, UK, teacher, animateur - and also a mentor on Maestro.

Elizabeth Schulze http://www.flagstaffsymphony.org/about_conductor.php
Music director, Flagstaff and Maryland Symphony Orchestras, US

Sandra Horst http://www.music.utoronto.ca/faculty/faculty_members/faculty_a_to_m/Sandra_Horst.htm
Chorus master of Canadian Opera

Grete Pedersen http://solistkoret.no/en/artistic-leader/
Artistic leader, Norwegian Soloists Choir

Mary Chun http://www.earplay.org/index.php/music-makers/mary-chun-conductor-bio/
In demand in contemporary music and opera, US. Premiered Adams's I was looking at the ceiling...

Sara Jobin http://www.hughkaylor.com/jobin-sara-bio.html
Artistic director, Centre for Contemporary Opera, New York.

Renee Baker http://www.chicagomodernorchestraproject.org/artistic-director/
Music director, Chicaco Modern Orchestra Project

Beatrice Jona Affron http://www.paballet.org/pennsylvania-ballet-orchestra
Music director and conductor, Pennsylvania Ballet Orchestra

Natalia Salinas http://www.linkedin.com/in/salinasnatalia/en
Conductor based in her native Argentina

Ann Krinitsky http://annkrinitsky.com/Bio.html
Director, Marin Symphony Youth Performance Programmes, etc - based in the Bay Area.

Karina Canellakis http://www.karinacanellakis.com/Site/Karina_Canellakis_conductor_violinist_BIOGRAPHY.html
Winner, 2013 Taki Concordia Conducting Fellowship (founded by Marin Alsop)

Sebrina Maria Alfonso http://southfloridasymphony.org/about-the-conductor/
Music director, South Florida Symphony

Diane Wittry http://www.dianewittry.com/index.html
Music director, Allentown Symphony  

Denise Ham http://www.denisehamconducting.com/
Sought-after teacher of conducting in the UK

Sharon Choa http://sharonchoa.co.uk/
Artistic director & principal conductor, Chamber Orchestra Anglia, which she founded in 2001

Rachael Young http://rachaelyoung.eu/
Has been assistant conductor to Paavo Jarvi & Leonid Grin, will Russian Virtuosi of Europe at Cadogan Hall in June 14.


Kayoko Dan http://chattanoogasymphony.org/artists/kayoko-dan/
Music director, Chattanooga Symphony & Opera 

Apo Hsu http://en.wikipedia.org/wiki/Apo_Hsu
Assistant conductor of Oregon Symphony under James de Priest

Joana Mallwitz http://www.artistainternational.com/en/conductor/joanamallwitz/index.php
Is conducting Das Rheingold in Macau in October 2013 and has been doing more Wagner in Riga.

Yuri Nitta http://www.yuri-muusikko.com/e-profile.htm
Tokyo-born Nordic music specialist

Keiko Mitsuhashi http://www.concert.co.jp/en/artist/keiko_mitsuhashi/
2nd prize & audience prize in 2010 International Conducting Competition 'Arturo Toscanini'; 1st prize in 2008 Antonio Pedrotti Conducting Competition. 

Kanako Abe http://www.kanakoabe.com/about.html
Born in Osaka, now based in Paris. Co-founder & music director of Ensemble Multilatérale

Yoko Matsuo *Link needed, please send if you have one!*
Pioneer of women conductors in Japan and first woman to win the Besançon competition in 1982. 

Lindsay Ryan http://www.harmonysinfonia.co.uk/conductor.php
London-based conductor, founder in 2009 of Harmony Sinfonia  

Heather MacLaughlin Garbes http://www.heathermaclaughlin.com/
Lives in Seattle, works with Baltic Studies Department/Baltic Choral Library at the University of Washington
 
Zheng Xiaoying http://www.mariinsky.ru/en/company/conductors/zheng_ziaoying/
Principal conductor of the Xiamen Philharmonic Orchestra and artistic director of her own Opera Centre.

Shi-Yeon Sung http://shiyeonsung.com/biography/
Winner of 2006 Sir Georg Solti International Conductors Competition.

Keri-Lynn Wilson http://imgartists.com/artist/keri_lynn_wilson
Canadian-born conductor, currently music director of Slovenian Philharmonic. Triumphant London debut at ENO for The Girl of the Golden West.

Susanne Riddell http://www.wessexyo.com/home/cwym-staff
Cellist, teacher and conductor of the Wessex Youth Orchestra, Poole, with further plans in the offing.

Janet Wheeler http://www.janetwheeler.co.uk
Choral conductor and composer

Catherine Winnes http://www.cathrinewinnes.com/about/
Norwegian orchestral conductor, artistic director and chief conductor of Swedish Wind Ensemble

Kerstin Nerbe https://sv.wikipedia.org/wiki/Kerstin_Nerbehttps://sv.wikipedia.org/wiki/Kerstin_Nerbe
Senior Swedish conductor who made her name long before the rest

Cecilia Rydiner Alin https://www.kmh.se/backstage/om-backstage/nyhetsarkiv/nyhetsarkiv/2017-11-29-cecilia-rydinger-alin-ater-som-rektor.html
Rector of KMH - the Royal Conservatory, Stockholm

Rachel Worby http://muse-ique.com/worby.php
Artistic director, conductor and founder of MUSE/IQUE, Virginia

Maria Badstue http://www.mariabadstue.com
Danish conductor, former pupil of Jorma Panula

Inma Shara https://inmashara.com/en/home/
Spanish conductor with fine track record and particular name for supporting charities

Jasmina Novoknet http://www.wikiwand.com/en/Jasmina_Novokmet
Serbian conductor and professor

Tomomi Nashimoto http://www.tomomi-n.com/en/profile/
Principal conductor and artistic director of IlluminArt Philharmonic Orchestra, Japan

Simone Menezes http://www.simonemenezes.com
Young Brazilian conductor, involved with the Villa Lobos Project

Tania Léon http://www.tanialeon.com
Cuban composer and conductor

Thea Kano http://www.nycmasterchorale.org/about-nycmc/artistic-staff/
Artistic director of New York City Master Chorale

Huan Jing https://en.wikipedia.org/wiki/Huan_Jing
Resident conductor of Guangzhou Symphony Orchestra

Maria Guinand https://www.laphil.com/philpedia/maria-guinand
Artistic director of Schola Cantorum de Venezuela

Gabriella Teychenné http://equilibrium-youngartists.com/eq-is-everywhere-gabriella-teychenne/
Young British conductor of Argentinian background, currently (2018) assisting Barbara Hannigan

Hortense von Gelmini https://www.hortense-von-gelmini.com
Austrian conductor and painter

Michi Gaigg http://www.lorfeo.com/en/michi-gaigg/
Award-winning baroque violinist and conductor

Valéria Csányi https://www.naxos.com/person/Valeria_Csanyi/36161.htm
Hungarian conductor who has recorded some fascinating Hungarian repertoire for Naxos

Linda Bouchard http://lindabouchard.com
Canadian composer and conductor

Karen Gorden http://www.karengorden.com
Principal guest conductor of Bingen Festival Orchestra, Germany



SO, ARE YOU STILL GOING TO ASK WHY THERE ARE NO WOMEN CONDUCTORS?
Didn't think so. Ask instead why we do not hear them more often. 

(Oh, and please, please, please stop throwing mud at Petrenko. Enough, already. Let's get some sense of proportion into this - many worse things are going on around us than that, and the chances are that he was joking/misquoted/manipulated for sensationalisation purposes, probably all three.)