Conducting energy

"How big a role I've played in [blazing a trail for other women] I'm not certain," Alsop says. "But I'm always very happy when young women [today] who are interested in the field think [being a woman is] a nonissue." Alsop likes teaching workshops for young musicians, both female and male, whenever she can. "If I can help you, I will," she says.

Simply through her own success she may be paving the way for other women.

"Orchestras need to be more proactive in hiring women conductors," says Joseph W. Polisi, president of The Julliard School in New York City. "Not because they are women, but because they are good. There is no need to compromise.

"And this is true for American conductors [both women and men] in general. American orchestras tend to look for their conductors in Europe or Japan."

What makes a great conductor is the depth of musical understanding he or she brings to the podium, Mr. Polisi says, adding that "Marin Alsop is a profound musician." (She received her master's degree at Julliard.)

Her rapport with both orchestras and audiences is part of her appeal Â- even part of her style. The Bournemouth musicians voted unanimously to hire her.

She also may be foreshadowing the end of the era of the conductor as tyrant. "Since Marin is a violinist and has extensive experience as a player, she has maintained a level of humility," Hwang-Williams says.

Alsop has been credited with taking the Colorado Symphony to new heights. "When the leadership of an orchestra improves, the morale of the players improves," Denver music critic Shulgold says.

"Really, my role is to interpret the composer's wishes and bring the message to the audience," Alsop explains. "I want to ... make the best music possible."

To prepare, she reads biographies on composers and learns about their thinking and what was happening around them.

"With Leonard Bernstein [as a composer], faith is a major issue Â- can we believe in humanity or will we be disappointed? With Beethoven, brotherhood and love would triumph over everything," she says.

"In his time, [Gustav] Mahler was revered for his conducting, but his music was discounted. All of those elements are important in understanding the music. It is important to me that my interpretation is not motivated by my experience, but my understanding of the composer's experience."

She also analyzes the piece itself: its structure, harmonies, how it moves from one place to another; its themes and how they are related. "I want to get under the notes and find and express the message," she says. "There is always a message."

Alsop is proud of her accomplishments in Colorado. But her phenomenal energy Â- so clearly expressed in her music, as many critics have noted Â- is pushing her on to greater things.

"I've fallen in love with the Bournemouth orchestra," she says. "It's an orchestra I feel a tremendous chemistry with and a genuine rapport."

Alsop's four-year contract with Bournemouth includes a six-CD recording deal, a major tour every year, and performances in nine concert halls.

"She obviously works the orchestra hard, and you can tell they are on the edge of their seats and working very hard for her," says Norris, the critic. "You can tell she had exerted her own interpretation on the orchestra.... She knows the scores inside and out. And the clarity of instrumental detail comes through.

"She is very dynamic but at the same time very sensitive," he adds. "I think her secret is the ability to communicate Â- with the orchestra and with the audiences as well.... And the product is very good Â- among the best musicmaking you are likely to hear."

JoAnn Falletta

The Buffalo Philharmonic (N.Y.)

Gisele Ben-Dor

The Santa Barbara Symphony (Calif.)

Anne Manson

The Kansas City Symphony (Mo.)

Keri-Lynn Wilson

formerly of the Dallas Symphony

Elizabeth Schulze

The Maryland Symphony

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