At a time when orchestras are generally responding to pressure to diversify, in the now densely populated Atlanta metropolitan area, Majority – Minoritynevertheless, Schutzmann focuses on the traditional repertoire of the Baroque and Romantic periods. Hillary Perlington her first premiere concert.)
“I need to be impressed. If I don’t have emotion, I don’t want to direct. It’s tough because people ask me to do a lot of things. But I try to keep my identity very strong.” does not become someone who can do everything every day.”
Gaëtan Le Dibelec, who was Atlanta’s vice president of artistic planning as of this season and was Stutzmann’s manager at Asconas Holt’s agency for several years, took the time not to assume anything about her. Learned, but the range of guest conductors to work with the ensemble, and will continue to venture further and further as they go.
“Part of my role is to introduce Natalie to the different styles that exist in the music of living composers, and I hope she will be part of that picture.” is an important topic for any orchestra, and the orchestra’s approach to new music should, in any event, go beyond the music director alone.”
Stutzmann is passionate about music that an orchestra needs more to build its sound on, and music that Spano and his longtime guest Donald Runnicles rarely play, including works by Mozart.
“It’s diversity and variety and thinking new things from different perspectives,” Barlament said. “I cannot say that Franck’s ‘Le Chasseur Mody’ is a common repertoire. I don’t even know when the orchestra last played a Bizet symphony.” Command this Season.)