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information from the conductors of the productions. off only because of the dedication and the quality of
I study and try to figure out the different ways a con- this chorus that was able to quickly learn and respond
ductor could approach the music artistically and his- to this kind of dramatic change.
torically. In studying the score, I also look at it like a The other example is John Adam’s On the Transmi-
conducting teacher—for example, knowing various gration of Souls, a difficult work that required my pull-
ways a tricky transition can be conducted, explaining ing out all the tricks I know as a chorus director and
to the chorus, and preparing the chorus by conduct- then even more to work through the very challenging
ing these spots in a different way each time while re- portions. The ending was especially difficult rhythmi-
hearsing them. This helps the chorus to be able to read cally. At each rehearsal all the way to the dress rehears-
and understand the gestures of a conductor and keeps al, there continued to be misalignments where things
them on their toes. were on the border of unraveling. At the concerts, I sat
I often tell them that the greatest compliment I can white-knuckled and prayed the whole time! Thankful-
receive as one who prepared them is when they “be- ly, everything held together, and all went well.
come like the regular ensemble of the conductor and In both instances, there’s a high level of mutual trust
are no longer mine.” I also occasionally “translate” to set and cultivated in the chorus environment—the trust
the chorus to help them achieve what the conductor of the chorus members that I’ve prepared them for all
wants in ways that they can understand and produce. eventualities and my trust of the chorus members that
each will perform at their very best. This goes way be-
Can you share an example of a chorus produc- yond notes and rhythm to the environment built over
tion that was particularly difficult to prepare? time of high expectations, mutual trust, and respect.
Why was it difficult? What did you do to over-
come the challenge so that the chorus “became You frequently travel throughout the United
like the regular ensemble of the conductor”? States and internationally as a conductor and
clinician. How do you prepare for those en-
There are two productions that stand out particu- gagements and what steps do you take on ar-
larly. I still break out in cold sweat whenever I think rival to achieve a successful experience for all
of them! One was preparing the B minor Mass of J. involved?
S. Bach. I had “bowed” the choral parts in a specific
way in preparation for a conductor from a distinct his- To help me keep track, I create a folder for each
torical approach. The week before the concert, there of the engagements with the repertoire and all other
was an unexpected change in artistic leadership to pertinent details. As a guest conductor, I rely on the
one with a different approach. Of all the masterworks preparation of the singers by their respective choir di-
in the choral repertory for this to happen! Once the rectors, and their having transferred and learned with
conductor arrived and I saw the “flight plan” at the the markings that I send ahead of time. I then pace
rehearsal, at each warm-up rehearsal that I had with each rehearsal carefully based on what I’m hearing
the chorus, I “translated” and made changes in antici- and how they’re responding to get the work done and
pation of what the conductor would want. quickly, keeping them engaged and not wearing them
Because of certain assigned portions for the so- out to get to the best level of performance. Program-
loists and chorus that the first conductor had made ming is fundamental. I strive to balance the levels of
(which the second conductor no longer wanted, and difficulty, styles, and moods to create both unity and
which was only rehearsed at the final rehearsal), the variety toward an enjoyable and rewarding whole ex-
chorus had to learn four pages of new music within perience for the singers as well as for the audience.
twenty-four hours of the concert! And this extended
portion wasn’t run through at the compressed dress re-
hearsal. Things turned out very well, but we pulled it

CHORAL JOURNAL March/April 2025 Volume 65 Number 7 37