The Philadelphia Ballet Orchestra Apprenticeship Program offers a unique opportunity for young, aspiring conductors aged 18-24, providing hands-on experience in a ballet orchestra setting. Apprentices are mentored by the orchestra's esteemed Music Director, Beatrice Jona Affron, and participate in rehearsals and performances.
"I envisioned this Philadelphia Ballet Orchestra Apprentice Program as a way to introduce young conductors to the generally misunderstood art of conducting for dance. We analyze scores together and we explore the relationship of music to choreography," says Affron. The program focuses on understanding the unique characteristics of a ballet orchestra and its relationship to other musical ensembles while fostering the next generation of conductors. "I am so happy to provide our apprentices with opportunities to conduct the orchestra and to learn about the process of preparing a production from the inside out."
Lily Carmichael earned a Master’s degree in Choral Conducting from Temple University. She is currently the Assistant Conductor of the Penn Symphony Orchestra and Director of the Bryn Mawr Renaissance Choir. Dedicated to promoting equity in music, Lily’s research focuses on performance-related musculoskeletal disorders and creating inclusive spaces for performers with disabilities and chronic illnesses. Lily is a professional soprano.
Emma Lokmer recently received a Master’s degree in Music Theory from Temple University. She honed her skills under Jose Luis Dominguez and Patricia Cornett, serving as Assistant Conductor for the Temple University Symphony Orchestra. Emma’s achievements include conducting the Temple University Repertory Orchestra and performing in masterclasses with the Belgrade Philharmonic and the North Texas Wind Symphony. Emma is an active pianist and teacher.
Can you tell us how you became interested in conducting?
Lily: I first learned to conduct as a chorister in the Elm City Girls’ Choir. Through this training, I grew enamored with this new way of experiencing music, and I developed so much confidence in myself as both an artist and a human. The podium quickly became the place I felt most myself.
Who or what has been the most significant influence on your decision to pursue conducting?
Emma: I was really lucky to have some amazing teachers and mentors who showed me how to connect with music and how important it is to inspire students and the audience. They made me want to share my love of music with others and be that kind of role model myself.
What qualities do you believe are essential for a successful conductor?
Lily: I’d say passion for and devotion to the music are among the most essential qualities. Also, strong communication skills, open-mindedness, and compassion. I think the most effective conductors are those who make music from a place of love: love of their art and love of their musicians.
Emma: Besides technical and musical proficiency, successful conductors have to communicate effectively and have strong organizational skills. To connect with orchestras and the audience, conductors need to be inspiring and charismatic, but balanced with humility and empathy.
What have been some challenges you've faced as a conductor, and how did you overcome them?
Emma: The biggest challenge for me, and many young conductors, is getting enough time on the podium with an orchestra. We can't really perfect conducting by just practicing alone – we need to work with musicians and react to the sound. So, when I do get the chance to conduct, I make sure I'm as prepared as possible, and I'm not afraid to try new things with my gestures.
How do you approach the interpretation of a score? Do you prefer to stick closely to the composer’s intentions or make personal artistic decisions?
Lily: I start by observing the score more broadly, looking vertically at harmony and texture then horizontally by singing through all the parts. Asking questions of the score is an integral part of this process. I then take a more evaluative approach (determining what is in the foreground versus the background, seeing how the composer weaves motivic material throughout, etc.) and then make performance decisions such as phrasing and balance. All evaluative and performance decisions are made with the aim of honoring the composer’s intentions.
Can you describe a memorable performance experience and what made it special for you?
Emma: Of the many performances I hold dear, my recent experience conducting the Nutcracker Overture with the Philadelphia Ballet Orchestra has become a special memory. This music, a nostalgic part of my childhood, took on new meaning as I collaborated with such accomplished players in that renowned hall. It was a performance where every factor aligned perfectly.
Lily: Conducting the Overture to The Nutcracker with the Philadelphia Ballet Orchestra this past December was quite memorable. Leading musicians of their caliber where there is so much trust gave me room to take risks and to play. I first fell in love with orchestral music listening to The Nutcracker, so it felt like this beautiful full-circle moment. And to be conducting on the podium where Tchaikovsky himself had conducted on his American tour felt very special.
What is your biggest takeaway from the apprenticeship?
Lily: There are so many takeaways! I have learned so much from Beatrice about the unique elements of ballet conducting as well as the complex process of creating a unified performance. It has been fascinating to experience music in the context of dance and to learn how narrative and movement can shape musical interpretation. The dancers and orchestra musicians have also been so supportive and inspiring to work with.
Emma: The apprenticeship offers a rare glimpse into the professional world, something young conductors rarely experience. I truly enjoy learning about the process of putting shows together and seeing the collaboration between dancers and musicians. Learning from Maestra Affron is really valuable and inspiring as she shares her expertise and gives us an opportunity to get hands-on experience.
