Boston Singers' Resource News Bulletin, September 3, 2002

Karla Kelley works throughout New England as a conductor, accompanist, and coach. Since 1987 she has served as conductor of the Maine State Ballet Orchestra, a 50-member professional orchestra that she founded, and which performs for more than 10,000 people annually.

Additionally Ms. Kelley was assistant conductor of the Portland (Maine) Opera Repertory Theatre, and, in 1992, she was selected from among 180 applicants to the post of assistant conductor of the San Francisco Ballet Orchestra. Guest conducting appearances include the Sliven Symphony Orchestra in Bulgaria, The Cape Ann Symphony Orchestra (MA), the Columbia University Orchestra and the Vermont Youth Orchestra. She has worked with young people and served as guest conductors for various youth orchestras in the Northeast.

Ms. Kelley is a member of the Acting Singers Project in Boston where she serves as accompanist and coach. An accomplished pianist, she has played for numerous regional opera companies and orchestras, as well as for a variety of choruses, chamber ensembles and solo artists in New England. She also coaches singers and conducting students out of her home in Medford. This fall, she will begin a new position as staff pianist for The Boston Conservatory.

A native of Upstate NY, Ms. Kelley was awarded the Masters of Music degree in Orchestral conducting from the New England Conservatory, where her principal teachers were Carl St. Clair and Pascal Verrot. She has also participated in master classes led by Kurt Masur, Leonard Slatkin, Robert Spano and Samuel Jones. She received her undergraduate degree in music education from Eastern Nazarene College where she also played violin in the Quincy Symphony Orchestra.

Upcoming performances include: Guest Conductor for the Charles River Sinfonietta, Millis Ma on Sept. 8; Accompanying an October recital with Michael McNulty featuring selections from Schumann’s "Dichterliebe," selections from Poulenc’s "Tel Jour, Telle Nuit," and "Wenlock‚s Edge" by Vaughn Williams; Guest Conductor with the Mid-Coast Symphony Orchestra on November 1 and 2; Conducting Maine State Ballet production of "Nutcracker" in December; and Guest Conductor of the The Fall River Symphony on February 8.

BSR: How wonderful to have a successful female orchestra conductor in our membership - have you always wanted to conduct? What were your first conducting experiences?

KARLA: I always was interested in conducting. I remember getting a copy of Messiah and, when no one was home, pretend I was conducting the work. I guess that was my "first" encounter with conducting. My first live orchestra conducting experience was in High school where the music teacher believed in having all the string students learn all the string instruments (I was a violinist). He also allowed the more advanced students the opportunity to conduct the orchestra in our school concerts.


BSR: Have you encountered any challenges as a female conductor in a traditionally male-dominated field?

KARLA: Yes, there are certain unspoken stereotypes that seem to be in place, especially in amateur and young people orchestras. When a competent female conductor gets up and is very sure of what she wants, she is labled as "hard nosed" and "cool." However, if a male gets up to conduct the same way, he is thought of as very competent and commanding but, not in the negative sense. An interesting example of this was, when I auditioned for a youth Orchestra once, and the females thought I was "cold" (I guess not nurturing), and the males thought I was "competent."


BSR: I understand exactly what you mean. My female collegues and I encounter this mis-labling all the time in Middle School and High School teaching. What really saddens me is when I see and hear young girls perpetuating this negative attitude who will one day, themselves, be in positions of authority and dealing with the same.

KARLA: I believe that it is more than a "mis-labeling." Somewhere in society, young girls are still influenced and taught that women are not suppose to be strong and commanding. I was personally surprised by this attitude. I thought that, with the women’s liberation movement of the 60’s and 70’s, our children would be able to appreciate and understand the choices that women have and with that, the various roles and what is required to be in those roles.

BSR: I was surprised, too. My family raised me to believe that, if I worked hard, I could be and do whatever I wanted. I never even considered that my determination, forthrightness and high expectations as a female leader would be frowned upon by some others.


BSR: What a huge undertaking - starting an orchestra! Why did you start the Maine State Ballet Orchestra in 1987 and what challenges were/are involved with that?

KARLA: The Artistic Director, Linda MacArthur Miele, asked me to start it. She danced with NYC Ballet and loved the experience of dancing with a live orchestra. As with all arts organizations, funding is a constant problem. But the Maine State Ballet found that the audience loves the orchestra and it really adds a tremendous amount to the overall artistic experience. Their website is www.mainestateballet.org. I didn’t really have too many problems getting the orchestra formed. I had a number of contacts with the musicians in the area so, it was just a matter of calling them up to participate.


BSR: Any interest in choral conducting?

KARLA: I like all kinds of musical styles and I have done a bit of choral conducting. In fact, I did more choral conducting, at first, between being an organist/choir director for years and the pianist for various choruses. Oftentimes, the director would split up the men and women and I would take one group and then he/she would take the other.


BSR: I was so impressed by the talent, level of commitment and clarity of performance at your recent performance of "The Swallow and the Prince" with the Acting Singers’ Project. This fine performance was essentially a "collaboration" between all performers (including you as the accompanist) rather than a "directed" performance, am I right? How did that work for you?

KARLA: Yes, the Acting Singers Group was a collaborative effort. I prefer that kind of working relationship. I think it brings out the best in everyone because everyone feels like they can contribute in a significant way to the overall production. Each person sees the music in a different light and its exciting to experiment and try new things with the music. The bottom line to making that kind of effort work is respect for each other. The next Acting Singers Project performance that I am collaborating on is slated for next May.

For more information about Karla Kelley or to contact her, please email kelleykm@gis.net or visit the Maine State Ballet website at www.mainestateballet.org.