BU Today: Can you talk about the seven-minute scene where Cooper as Bernstein conducts the London Symphony in Mahler’s Second Symphony. How accurate a depiction is it?

The scene certainly provided the infamous Bernstein level of passion (and sweat) from Cooper. Bernstein was famous for sometimes conducting just with his face and eyebrows. I thought he did a terrific job encapsulating the essence of Bernstein through his body language and facial expression. The way that the cameras caught and panned through the orchestral playing and singing was world-class. The scene was visually stunning and aurally beautiful.

However, there are technical musical elements, which certainly don’t detract from the film, but may not work in the real world. In my experience, there would need to be a much larger choir [than that shown] to effectively balance the massive orchestra. And I might have preferred additional violins. It certainly suffices in a theatrical sense, but it may have been a tougher sell as a live performance.

BU Today: Bradley Cooper appears transported by the music. There’s a sense of transcendence. Have you experienced moments like that on stage while conducting?

I’ve been lucky enough to have that experience a few times in my career. The first time I had that sense of transcendence was at the end of a massive three-year project with the Cincinnati Chamber Orchestra. I serve as artistic director and conductor for the We Are One festival series. The inaugural festival focused on equity, or Black communities in our justice systems. The festival had nearly 500 musical participants and 20 collaborative organizations and was unfortunately postponed twice due to COVID. When the festival finally could happen, I remember the final performance and the opening movement of Joel Thompson’s Seven Last Words of the Unarmed. I felt like all the work our team had done to bring people together was worth it and was summed up in one perfectly balanced chord. The clarity of the strings with the warmth of brass and winds throughout the rest of the concert rang in my head and then traveled through every inch of my body.

Another instance, though remarkably different, was during a finale performance with the Cincinnati Youth Choir performing I Sing Because I’m Happy, a Gospel work by Rollo Dillworth. Young singers from ages 4 to alumni up to 50 years old gathered on stage to celebrate the organization’s 30th anniversary. The transcendent moment came from a four-year-old with a contagious smile and the joy in the eyes of singers in different stages of life. The simplest scenarios have provided the opportunity for the most satisfying and life-changing musical moments.

BU Today: Cooper described the scenes where he had to conduct as “the scariest thing I’ve ever done.” Is it sometimes frightening to be up on a stage leading a symphony or chorus?

Being a conductor can definitely be intimidating, and even downright scary. One of the notable differences is that the conductor doesn’t have a physical instrument on the podium like a violinist or a woodwind in the orchestra. The conductor’s instrument is the composite of the full ensemble, made up of many individuals. I think that adds another level of fear to being a conductor—you’re engaging directly with people and encouraging them to make music together rather than focusing on your solo instrument.

Good conductors trust their ensemble, and vice versa. Trust requires a healthy bit of vulnerability, and consequently, a little bit of fear. However, when trust is the foundation for music-making, it suddenly becomes a lot less scary. I always try to remember that we all want the same thing—art, connection, assurance, and making music together—which ultimately boils down to creating an environment of trust.

BU Today: Can you talk about the challenges inherent in conducting this particular piece of music?

I’ve sung the Mahler Symphony No. 2 with the Cincinnati Symphony Orchestra and May Festival Chorus and helped prepare this work elsewhere earlier in my career. Simply put, it’s gigantic on so many levels. The work calls for 10 horns, 6 trumpets, and a larger than usual ensemble of winds alongside a significant battery of percussion. Moreover, the 90-minute symphony requires a huge amount of stamina for everyone on stage. In the best of all possible worlds, you would have 150 or more singers on stage to balance the huge orchestra effectively. 

The piece requires a high level of technical skill from all the musicians. Additionally, the symphony’s emotional depth and thematic intricacy can make it a challenging piece to interpret and perform effectively. As a conductor, I think Mahler’s Symphony No. 2 is difficult musically, but also presents a unique level of emotional complexity.

BU Today: How did you come to be a conductor?

I was originally planning to be a lawyer. I had always studied music in college. I was a dual major in voice performance and international relations and economics. One day, I stood in front of a chorus at the last second to run a rehearsal because the instructor suddenly fell ill. In that moment, I realized conducting and ensemble work was a source of passion and excitement that I hadn’t felt in music before. After that day, the rest became history.

BU Today: What is it you love most about conducting?

I love working with people. At BU, I love teaching this incredible student body. Students are intelligent, driven, and capable. They’re well-rounded and curious, not only about their musical craft, but how their art can integrate into the larger world around them. These students will be well-prepared to address the needs of music and art in a complex society. Working with students as they begin their careers and their training is the highlight of my day and my career.

As I work with professional orchestras and choruses, I cherish the ability to make art together and to work at the highest of musical levels. At the same time, I love making connections with colleagues that are both musical and nonmusical.

In addition, my career has allowed me to travel across the world and engage with people from many different cultures and backgrounds. I see conducting both on stage and off as an opportunity to engage with adventure.

I wouldn’t have it any other way.