y first exposure to the idea of music as an agent of social change came when I was appointed Music Director of the Calcutta Orchestra (that’s them, above) in 1998. It was a professional orchestra, but one with a profound social mission: to train and employ young people from disadvantaged backgrounds as classical musicians. (You can read about the work in the January 1999 issue of The Strad, available here at the bottom of the page.) After that experience I earned my Masters and Doctorate in Orchestral conducting, supporting myself along the way with positions as head of the elite performers division of a prominent conservatory, Director of Marketing for a major Canadian symphony orchestra, and finally, international media industry consultant.
During this journey I was also very fortunate to be the recipient of three fellowships: one in Social Entrepreneurship, another in Arts Leadership, with the third and final being the Abreu Fellowship at New England Conservatory.
It’s the first and the last of these experiences spanning more than a decade that ultimately define the through-line. All my activities – from teaching interpretation and conducting in Venezuela to working on the launch of television stations in China – converge towards a new vision for symphonic music, with three inseparable elements:
This personal rubric isn’t just a nice idea, but one informed by experiences at the highest levels of the symphony and media industries, supported by advanced education and fellowships, and illuminated by distinguished artistic accomplishments.
I now focus my efforts as a writer, guest conductor and educator for el Sistema for programs and orchestras on four continents, as well as leveraging my uncommon experience in business and social entrepreneurship as an organizational consultant.