About MMC’s Instrumental Conducting Studio
The Orchestral Conducting Studio at MMC, led by one of the most distinguished Spanish conductors, Óliver Díaz, is designed to offer a comprehensive, eminently practical training to experienced students who show an advanced degree of competence. Conducting students will enjoy 30′ of podium time each week (30 sessions in total during the year), with the MMC Conductor’s Orchestra, and the repertoire to be prepared during the first year spans very diverse situations: a classical symphony, a concerto with soloist, opera scenes, two of the most demanded pieces at conducting competitions, and one of the masterworks of symphonic literature.
There will be, of course, group analysis classes, training on score & parts preparation, private lessons with video reviews, and another practical scenario, where students will enjoy 20′ weekly with a string quintet and piano group.
The conducting program will have visiting conductors throughout the year, and we can already announce two of them: American conductor, based in Italy, Christopher Franklin, whose startling career has taken him to the best opera houses and orchestras around the world, and New York based conductor Daniel Beckwith, one of the most prominent and experienced opera conductors in America, who worked for many years as an assistant to James Levine at the MET.
More conductors will be invited for masterclasses, please keep visiting this page, we’ll be announcing them!
EXTERNAL TRAINING PRACTICE
MedMusic is working on the possibility to offer our conducting students some very interesting opportunities. Among them, we’ll be offering the possibility of doing their graduate recital with a professional orchestra to our most talented students, or working as assistant conductor in a professional opera production. Depending on the capacity shown by our students, it is one of our main goals as a school to help students get these kind of opportunities, and for that we’ll be committing our strongest efforts.
Repertoire to be worked in 2022-2023
The following is the repertoire that will be worked with orchestra and ensemble during the first year Master’s degree. For our second year, we are planning to keep exploring the symphonic repertoire, and we’ll be preparing a complete opera title!
- September/October: Mozart’s “Haffner” Symphony
4 (four) sessions with orchestra
- October/November: Stravinsky’s “Histoire du Soldat”
6 (six) sessions with ensemble
- November/December: Opera Gala (Repertoire TBA, in collaboration with MMC Vocal Studio)
5 (five) sessions with orchestra, including public concert
- January/February: Schoenberg’s “Pierrot Lunaire”
6 (six) sessions with ensemble
- February/March: Mendelssohn’s Violin Concerto in E minor
3 (three) sessions with orchestra
- April/May: Brahms’ Symphony no. 2 in D Major
6 (six) sessions with orchestra, including public concert also featuring Mendelssohn’s Violin Concerto
Instrumental Conducting Program Quick Facts
Each student will get:
30 sessions with orchestra/ensemble with MedMusic Conductor’s Orchestra
30′ podium time on each session for each student, all of them video-recorded
Private lessons with video review
25 Sessions with String Quintet and Piano allowing for 20′ of Podium Time for each student
Collective Analysis Class at the beginning of each new repertoire
Training on Preparation of Materials (Strings Bowings, Score Marking, etc.)
Collaboration with the Vocal Studio for Opera Productions and galas with Orchestra
Masterclasses with World-class Conductors coming from all over the world
Possibility of Engagements with Professional Orchestras and Opera Theatres
After studying piano at the Peabody Conservatory of the John Hopkins University, he was awarded with the prestigious ‘Bruno Walter’ orchestral conducting scholarship to study at the Juilliard School of Music with conductor such us, Otto Werner Mueller, Charles Dutoit or Yuri Temirkanov.
Back from the United States, he founded the Gijón City Symphony Orchestra and the Barbieri Symphony Orchestra, being the artistic director and conductor of both Orchestras.
With an extensive repertoire from Baroque to Contemporary Music , led him to conduct most of the main Spanish Orchestras such as the RTVE Orchestra , the Castilla y León Symphony Orchestra, the Gran Teatro del Liceu Symphony Orchestra, the Valencian Community Orchestra or the Madrid Symphony Orchestra, the Royal Philharmonic of Galicia, the Euskadi Orchestra, the Oviedo Philharmonic, the Galician Symphony Orchestra, the Bilbao Symphony Orchestra or the Principality of Asturias Orchestra. Abroad he has also worked with the Monte Carlo Orchestra, the Belgrade Philharmonic Orchestra, New Amsterdam Symphony, Cluj Philharmonic Orchestra, with which he has constant collaboration, the Russian Philharmonic Orchestra or the National Orchestra of Peru.
He has also worked in important Spanish opera houses such as the Palau de Les Arts, the Campoamor Theater, the Zarzuela Theater, the Royal Theater of Madrid, the Gran Teatro del Liceu or the Teatro de la Maestranza, and outside our borders, in the Teatro alla Scala in Milan, in the Roman Theater in Orange, in the Royal Opera House in Muscat (Oman), being the first Spanish conductor to debut in the pit of the prestigious Helikon Theater in Moscow.
He has been invited to conduct at prestigious festivals such as the Santander International Festival or Les Chorégies d’Orange.
Future commitments include his return to the Teatro de la Zarzuela, or coliseums such as the Teatro de la Maestranza, the Campoamor Theater in Oviedo or the Gran Teatro del Liceo, as well as concerts in Madrid, Tenerife and his debut in the ABAO season.
Between 2015 and 2019 he held the position of Musical Director of the Teatro de la Zarzuela in Madrid and is a founder member and vice-president of the Spanish Association of Orchestra Directors (AESDO).
In recent years, he has developed his double role as a composer and musical arranger in different productions commissioned by the Teatro de la Zarzuela, RTVE Orchestra, and the Spanish National Dance Company.
He has to his credit more than a dozen recordings made for the record labels NAXOS or Warner Music Spain, among others.
Equally at home on the concert stage and in the opera house, American conductor Christopher Franklin has been praised for his keen theatrical instincts and vibrant performances. His continued success in the Italian operatic repertoire is a natural result of having launched his career in Italy, conducting at several major Italian opera houses and festivals including Teatro Regio di Torino, Maggio Musicale Fiorentino, Teatro Comunale di Bologna, Teatro San Carlo di Napoli, Teatro Carlo Felice di Genova, Teatro dell’Opera di Roma, Teatro Lirico di Cagliari, Teatro Massimo di Palermo, Teatro Verdi di Trieste, Teatro Municipale di Piacenza, Teatro Comunale di Modena, Teatro Valle di Reggio Emilia, Teatro Comunale di Treviso, Teatro Verdi di Salerno, Teatro Pergolesi di Jesi, Rossini Opera Festival in Pesaro, Sferisterio in Macerata, and Spontini Festival in Jesi.
Mr. Franklin has performed in theatres throughout the world such as the Konzerthaus in Vienna, Herculessaal in Munich, Teatro Real Madrid, Philharmonie in Köln, Musikhalle in Hamburg Alte Oper in Frankfurt, Festspielhaus in Baden-Baden, Théâtre des Champs-Elysées in Paris, Palau de les Arts in Valencia, Teatro de Bellas Artes in Mexico City, Konzerthaus in Dortmund, Cadogan Hall in London, Carnival Center of Miami, International House of Music in Moscow, Dvořák Hall and the Smetana Municipal Hall in Prague, at the Minnesota Opera and Boston Lyric Opera.
Upcoming projects include Hansel und Gretel at San Francisco Opera, La Boheme at the Teatro Verdi di Trieste, Aufsteig und Fall der Stadt Mahagonny in Parma, a CD recording project with the Czech Philharmonic in Prague, concerts with the Tokyo New City Orchestra in Suntory Hall, and Florencia en el Amazonas at Yale University. Recent productions include: La Traviata and Thais at MN Opera, Tosca at the Festival Granda in Lima, Peru, Peter Grimes at the Palau de les Arts in Valencia, L’Occasione fa il ladro in Oman, Thais at Minnesota Opera, Donizetti’s Pia de Tolomei in Pisa, Livorno, Lucca, and I Puritani at the Teatro Liceo in Barcelona, as well as symphonic engagements with the Russian National Philharmonic and Teatro Comunale di Bologna, Tristan und Isolde at the Teatro Verdi in Trieste, Turco in Italia at the Teatro Comunale in Bologna, Britten’s Turn of the Screw at the Palau in Valencia, Cavalleria Rusticana/Pagliacci at the Macerata Sferisterio, Rossini’s Otello at the Teatro Liceo in Barcelona, and La sonnambula at Théâtre des Champs-Elysées in Paris.
A sought-after guest conductor, Mr. Franklin has conducted the London Philharmonic Orchestra, Royal Philharmonic Orchestra, Sydney Symphony Orchestra, Czech Philharmonic Orchestra, West Australian Symphony Orchestra, National Philharmonic of Russia, Orchestre Philharmonique de Monte-Carlo, a German tour with the Münchner Symphoniker, SWR Orchester in Germany, Orchestra of the Maggio Musicale Firenze, Orchestre de la Monnaie in Bruxelles, Orchestra Sinfonica Nazionale RAI di Torino, Prague Radio Symphony Orchestra, Hungarian National Opera (Budapest), Orchestre de Chambre de Paris, Opera St. Etienne, Prague Philharmonia, Orchestra de Comunitat di Valencia, Orchestra de la Navarra (Spain), Sinfonieorchester St. Gallen, Orchestra Verdi di Milan, Orchestra della Toscana, Orchestra Filarmonica dell’Arena di Verona, Orchestra ‘900 of the Teatro Regio di Torino, Orchestra Toscanini of Parma, Orchestra da Camera di Padova, I Pomeriggi Musicali of Milano, Accademia della Scala di Milano, Camerata Strumentale di Prato.
He has collaborated with several world-class soloists including Salvatore Accardo, Boris Belkin, Misha Maisky, Natalia Gutman, Bruno Giuranna, Marco Rizzi, Pietro de Maria, Enrico Pace, Ruggero Raimondi, Francisco Araiza, Ildar Abdrazakov, Dimitra Theodossiou and Ildebrando d’Arcangelo. Over the years Mr. Franklin has established a collaboration with famed tenor Juan Diego Flórez, appearing with him on tour in many concert venues around the world.
Mr. Franklin has built up an extensive operatic repertoire covering several different periods and styles. Highlights from recent seasons include Les Contes d’Hoffmann, Midsummer Night’s Dream, Cosi fan tutte, Die Zauberflöte, Rigoletto, La cenerentola, Hamlet, Doubt (world première), Il barbiere di Siviglia, Le comte Ory, Otello, La gazzetta, La Scala di Seta, La cambiale di matrimonio, Il viaggio a Reims, L’elisir d’amore, Don Pasquale, Attila, Rigoletto, Falstaff, Werther, Carmen, Gina di Cilea, La bohème, Manon Lescaut, Cavalleria Rusticana, Pagliacci, Death in Venice, Billy Budd, L’amour coniugale (J.S. Mayr), Une education manquée (Chabrier), Die lustige Witwe, La Lupa e Dylan Dog (Tutino) and Jackie O (Daugherty).
Mr. Franklin was first-prize winner of the Gino Marinuzzi International Conducting Competition. After winning the La Bottega-Toti dal Monte Competition in Treviso he was named Resident Conductor and assistant to Peter Maag at the Teatro Comunale di Treviso where he had his Italian debut. He also attended the conducting class of Maestro Gelmetti at the Accademia Chigiana in Siena where he was awarded the prestigious Franco Ferrara Prize.
He began studying the violin at the age of six in his hometown of Pittsburgh (USA). After completing a BA in violin and German literature at Macalester College in St. Paul, Minnesota, he earned his MM in conducting at the University of Illinois and his DMA at the Peabody Conservatory with Frederik Prausnitz. He was awarded a scholarship to study at the Tanglewood Music Center, where he worked with Seiji Ozawa, Robert Spano, and Gustav Meier, and subsequently, a Fulbright Fellowship to study at the Musikhochschule in Saarbrücken. He began his conducting studies with Charles Bruck at the Pierre Monteux School for Conductors in Hancock, USA. Christopher lives in Lucca, Italy.
Daniel Beckwith has conducted in many of the major opera houses throughout North America and Europe. With a repertoire that spans the 17th through the 20th centuries, he has been hailed as one of the most exciting conductors of his generation.
Mr. Beckwith’s conducting career began in 1991 in an all-Mozart concert with Virginia’s Norfolk Symphony. Only a year later, Houston Opera invited him to conduct Gretry’s rarely performed Zémire et Azor. Many important engagements followed, notably Canadian Opera Company (Monteverdi’s L’Incoronazione di Poppea), Glimmerglass Opera Festival (Rossini’s Le Comte Ory), The Lyric Opera of Chicago ( Così fan tutte), Edmonton Opera (Handel’s Guilio Cesare), and The Opera Theatre of St. Louis (Haydn’s Armida).
Mr. Beckwith served as assistant to James Levine for six seasons at the Metropolitan Opera and was given his conducting debut with Mozart’s Don Giovanni in 1995 after Mr. Levine observed his conducting of a stage rehearsal. On the strength of these performances, Daniel Beckwith was engaged for several important debuts conducting the works of George Frideric Handel, both nationally ( Serse, Seattle Opera) and internationally ( Rinaldo, Grand Theâtre du Genève, Theodora, The Glyndebourne Festival).
The operas of Mozart have figured prominently in Mr. Beckwith’s career. His return engagement to the Metropolitan, as well as his San Francisco Opera and Portland Opera debuts was with Don Giovanni; Vancouver, Baltimore, Edmonton and Arizona opera companies have all heard his performances of Le Nozze di Figaro. Daniel Beckwith’s Australian opera debut in 1998 was with another personal favorite, La Clemenza di Tito. Mr. Beckwith’s return engagement to the Seattle Opera and his debut with the Washington Opera was with Die Zauberflöte.
His love of, and affinity for, the baroque, early classical, and the bel canto repertory has given him the opportunity to perform many of the cornerstone operas of these varying periods: Orphée et Euridice (Utah Opera), Cimarosa’s Il Matrimonio Segreto (Wolftrap Opera Festival); Lucia di Lammermoor (Cincinnati Opera), Il Barbiere di Siviglia (UK’s Opera North, Florida Grand Opera, Wolftrap Opera Festival), La Cenerentola (Kentucky Opera) L’Elisir d’Amore (Fort Worth Opera), L’Italiana in Algeri (Cleveland Opera, Opera Columbus, Chautauqua Opera, Opera Festival of New Jersey), and Handel’s Oreste (The Juilliard School and Spoleto Festival, Italy). The vehicle of his April 2000 New York City Opera debut was a new production of Rameau’s Platée which featured the Mark Morris Dance Group.
With an increasingly diverse repertory, Mr. Beckwith has had many return engagements with The New York City Opera (Monteverdi’s Il Ritorno d’Ulisse in Patria, Britten’s The Rape of Lucretia, Handel’s Alcina, revival of Platée), The Washington Opera (Ward’s The Crucible), The Cincinnati Opera (Gounod’s Roméo et Juliette), Calgary Opera ( Floyd’s Susannah, Don Pasquale, Carmen) Canadian Opera Company (Mozart’s Il Re Pastore), Edmonton Opera ( The Rape of Lucretia, Turandot), Wolftrap Opera Festival (Falstaff, Die Entführung aus dem Serail). From 1999 to 2001, he was Artistic Director of the Lake George Opera Festival, during which time he conducted performances of Il Barbiere di Siviglia, Don Govanni, Così fan tutte, Madama Butterfly, Il Re Pastore and Ariadne auf Naxos. His concert appearances have included performances with Boston’s Handel and Haydn Society in a program of Bach, Handel and the world premiere of Dan Welcher’s JFK: the Voice of Peace; an all-Handel concert with the Juilliard Orchestra at Alice Tully Hall; orchestral and vocal repertory from Mozart to Wagner with Metropolitan Opera soprano YoungOk Shin at the LG Arts Center in Seoul, South Korea. He made his debut with Chicago’s Music of the Baroque in performances of Handel’s Israel in Egypt. A return to Chicago’s Grant Park Music Festival featured mezzo-soprano Jennifer Larmore in a concert of Bel Canto rarities; his first appearance at Spain’s Santander Festival with soprano Renée Fleming included orchestral and vocal repertory drawn from the 17th to 20th centuries.
In celebration of the Mozart year, Mr. Beckwith conducted an all-Mozart orchestral concert for the Princeton Festival. A concert tour with Renée Fleming included debuts with the Hartford Symphony and the Orchestra of St. Luke’s at Carnegie Hall. Recent engagements included a return to Fort Worth Opera for Giulio Cesare; Carmen for the Green Mountain Opera Festival; Les Contes d’Hoffmann, La Bohème, Serse and Le Nozze di Figaro for Michigan State University; L’Incoronazione di Poppea for Florida State University.
In demand as a partner in recital, he has appeared in the United States and Europe accompanying artists such as Renée Fleming, Benita Valente, Carol Vaness, Nancy Gustafson, Marilyn Horne, Frederica von Stade, Jennifer Larmore, Denyce Graves, Susanne Mentzer, Jerry Hadley, Ben Heppner, Richard Leech, Nathan Gunn and Samuel Ramey. His television credits (with Ms. Fleming) include Good Morning America, The View, Martha Stewart Living.
As a church musician, Mr. Beckwith has served several landmark churches as Assistant Organist: The Fifth Avenue Presbyterian Church, St. Bartholomew’s Church and the Cathedral Church of Saint John the Divine; Interim Director of Music/Organist at St. John’s-in–the-Village, NYC; Director of Music/Organist at The Second Congregational Church, Greenwich, CT.; Interim Director of Music/Organist at St. Luke’s Parish, Darien, CT., Director of Music/Organist at The Reformed Church, Bronxville, New York. He returned to the Cathedral of St. John the Divine as a professional staff singer and Assisting Organist. He is presently the Principal Organist at the Church of St. Ignatius Loyola and Assistant Organist at Temple Emanu-EL, both in NYC.
MMC is offering only the Master’s of Music degree for conducting students, as we strongly believe a conductor must have a strong background as a musician, and only a Bachelor’s degree or similar can guarantee that. Here’s the curricula for MM in Orchestral Conducting:
Repertoire for M.M. in Orchestral Conducting
Applicants are asked to submit three video excerpts that show their conducting skills. Materials should include at least two contrasting musical styles of standard orchestral repertoire, and should be complete pieces or movements o a larger piece, and meet the following conditions:
- Each excerpt should include the title of the piece, the date, and the name of the ensemble.
- The video camera should be positioned behind the orchestra and pointed at the conductor.
- Each video clip should be uploaded as separate video files and should total no less than twenty minutes in length.
- Videos featuring full orchestra are preferred, but clips of an applicant leading an ensemble, a quintet with piano, or two pianos, are acceptable.
Selected conducting applicants will be asked to attend an online interview with the admissions panel. MMC will contact each applicant to coordinate the meeting, to be held during the audition month for which he/she applies.