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October 2016

Increasingly recognized by audiences and musicians for his musicality and passionate communication, Sameer Patel is one of America's most exciting young conductors. He is the newly appointed Assistant Conductor of the San Diego Symphony, and began his tenure in the summer of 2015 leading a widely covered surprise performance featuring the music of John Williams at San Diego Comic-Con International.

Previously, he served for three seasons as Associate Conductor of the Fort Wayne Philharmonic, where he conducted the orchestra in over 100 performances and invigorated the orchestra's engagement with the community. In 2013, Sameer was one of only six conductors selected by the League of American Orchestras for the Bruno Walter National Conductor Preview with the Jacksonville Symphony Orchestra, an event that showcases emerging and talented conductors to orchestra industry professionals. He was also a Felix Mendelssohn-Bartholdy Scholar, an honor given to him by former New York Philharmonic Music Director Kurt Masur. As part of this award, Sameer traveled to Europe to study with and assist Maestro Masur with the Leipzig Gewandhaus Orchestra and the Finnish Radio Symphony Orchestra. 

Recent and upcoming engagements include appearances with the Toronto Symphony Orchestra, Detroit Symphony Orchestra, Knoxville Symphony Orchestra, San Diego Symphony, Pacific Symphony, Phoenix Symphony, Toledo Symphony Orchestra, Alabama Symphony Orchestra, Naples Philharmonic, Reading Symphony Orchestra, Muncie Symphony Orchestra, Leipziger Sinfonieorchester, the Jacksonville Symphony Orchestra, and the Chicago Sinfonietta. Additionally, Sameer has worked with the Tonhalle Orchestra of Zurich, Simon Bolivar Youth Orchestra of Venezuela, Lucerne Festival Strings, Orchestra da Camera di Trento, the Ensemble Zandonai, the Festival Orchestra of Sofia at the Accademia Musicale Chigiana, the Oslo Chamber Orchestra, and the Royal Northern College of Music Orchestra at the Stresa Festival. He has also conducted at the David Oistrakh Festival and the Leigo Music Days Festival in Estonia in appearances with the Estonian National Youth Symphony and the St. Petersburg Festival Orchestra.

Sameer began his musical training as a pianist and received both his graduate and undergraduate degrees at the University of Michigan, where he studied conducting with Kenneth Kiesler. He furthered his training internationally with acclaimed conductors Kurt Masur, Bernard Haitink, Gianandrea Noseda, David Zinman,  Neeme Järvi, Paavo Järvi, Larry Rachleff, JoAnn Falletta, Günther Herbig, Mei-Ann Chen, Thomas Wilkins, and Marin Alsop. He has held prestigious conducting fellowships with the Boston Philharmonic and the Chicago Sinfonietta, and credits his time with these organizations for developing his passionate approach to engaging with audiences of all backgrounds and to reimagining the concert experience. Also an enthusiastic advocate for music education, Sameer has worked with school and youth orchestras in North America, South America, and Europe. 




November 2016

As Music Director of the Asheville Symphony and Erie Philharmonic, conductor Daniel Meyer has reinvigorated both orchestras with his innovative programs, engaging presence and keen musical intellect. He began the 2015/16 season leading concerts with the Indianapolis Symphony and opened his season in Erie with a newly commissioned work for Cello and Orchestra by Michael Daugherty. 

He returns to Germany for concerts with the Wuettembergische Philharmonie, followed by concerts with the Tonkuenstler Orchestra in Vienna in a program of Golijov, Pleyel, and Schumann's Symphony No. 2. In the spring, Meyer returns to Vienna and to the Wiener Jeunesse Orchestra to lead performances at the Konzerthaus of Bernstein, Brahms and Elgar.

Meyer's eclectic and groundbreaking programs in both Asheville and Erie include works this season by Richard Danielpour, Jennifer Higdon, and John Adams in and amongst the masterworks of Beethoven and Brahms, Dvorak and Schumann; the Metamorphoses of both Strauss and Hindemith; and great vocal works including the Mozart and Verdi Requiems, Beethoven's Mass in C, and a Gala concert performance of Loewe's My Fair Lady.

In Asheville last season, Meyer curated and led the inaugural Amadeus Festival, a sold out week of film, lectures, community events, and concerts featuring Emmanuel Ax -- an extension of his longtime dedication to music education and community involvement.

In recent seasons Meyer has frequently conducted the Rochester Philharmonic and the Pittsburgh Symphony, as well as guest engagements with the Columbus, Phoenix, Eugene, Alabama, and Knoxville Symphonies. At the Asheville Lyric Opera he led a double bill of Puccini’s Suor Angelica and Leoncavallo’s I Pagliacci, Mozart’s The Magic Flute, and Rodgers and Hammerstein's Carousel. His critically acclaimed European debut took place with the Staatstheater Stuttgart Orchestra and violinist Thomas Zehetmaier, and he returned to Germany soon after for concerts with the Neue Philharmonie Westfalen.

Meyer has led the symphony orchestras of Utah, Fort Worth, San Antonio, Syracuse, Tallahassee, Youngstown, Lexington, Portland, Santa Barbara, Lansing, and Wheeling. Summer festival appearances have included the Cleveland Orchestra at Blossom, the Aspen and Grand Teton Music Festivals, the Chautauqua Festival and the Brevard Music Center.

In 2003, Mariss Jansons invited Meyer to become Resident Conductor of the Pittsburgh Symphony and Music Director of the Pittsburgh Youth Symphony, where he served until 2009. He worked closely with Manfred Honeck, Mariss Jansons, Sir Andrew Davis, and Charles Dutoit. He led the Pittsburgh Symphony on tour; conducted performances with Pinchas Zukerman, Sarah Chang, and Marvin Hamlisch, among other notable soloists; and conducted the world premiere of Richard Danielpour’s Pastime, a co-commission of the Pittsburgh and Atlanta Symphonies and the Brooklyn Philharmonic.

As music director of the Pittsburgh Youth Symphony, Meyer led the PYSO on their first ever tour to China and an international tour to Vienna, Prague, Leipzig and Budapest in programs including the world premieres of David Stock's Clarinet Concerto with soloist Richard Stoltzman, and John Harbison’s Mary Lou: Four Symphonic Memories of Mary Lou Williams.

A native of Cleveland, Mr. Meyer Studied conducting at the Hochschule für Musik in Vienna as a Rotary Ambassadorial Scholar, and is a graduate of Denison University and the University of Cincinnati College-Conservatory of Music. He composed and conducted works for ensembles at both schools, including a Stabat Mater for soprano, chorus and orchestra. At Boston University, Mr. Meyer received the Orchestral Conducting Honors Award and at Aspen was awarded the prestigious Conducting Prize from David Zinman.


January 2017

German conductor, Alexander Mickelthwate made his European debut with the Hamburg Symphony in April 2006. Since then, he has appeared with the Stuttgart Radio Symphony Orchestra, Deutsche Kammerphilharmonie, NDR Symphony Orchestra, Nurnberg Symphony, Bucharest Philharmonic, Orchestre Phillharmonique de Monte Carlo and the Royal Scottish National Orchestra. 

In North America, Alexander has appeared as guest conductor with the New York Philharmonic, Brooklyn Philharmonic and symphony orchestras of Baltimore, Chicago, Dallas, Fort Worth, Houston, Indianapolis, Nashville, New Jersey, Oregon, Toronto and San Antonio. In 2011, Alexander made his debut in Australia with the Adelaide and Tasmanian Symphony Orchestras.

 Recent highlights include debuts with the Houston Symphony, the São Paulo Symphony Orchestra and the Simon Bolivar Orchestra, a re-engagement with the National Arts Centre Orchestra in Ottawa and highly successful last-minute replacements with the Seattle Symphony, Atlanta Symphony and Saint Paul Chamber Orchestra, the latter featuring Dawn Upshaw singing Barber’s Summer of Knoxville 1915.

 Following on from his tenure as Assistant Conductor with the Atlanta Symphony Orchestra, which he completed in 2004, Alexander Mickelthwate was Associate Conductor of the Los Angeles Philharmonic for three years, under the direction of Esa-Pekka Salonen. Now in his seventh season as Music Director of the Winnipeg Symphony Orchestra, Alexander has significantly developed the orchestra’s profile through active community engagement and innovative programming initiatives like the annual New Music Festival and the Indigenous Music Festival. Chosen to perform at the Carnegie Hall orchestra showcase in New York, 2014, the orchestra was the only Canadian ensemble in the showcase. Alexander has expanded the orchestra’s repertoire, initiating the first performances of Messiaen’s Turangalila Symphony, Penderecki’s Seven Gates of Jerusalem, George Crumb’s Star Child and inspired a new choreography based on First Nations’ elements to Stravinsky’s Rite of Spring. As well as significantly contributing to the New Music Festival and Indigenous Festival, Alexander lead the orchestra’s first out of province tour since 1979 to the National Arts Centre in Ottawa, launched the International Conducting master-classes, the New Music Festival 2012 film project and played a major part in the acoustic overhaul of the Centennial Concert Hall. 

 Alexander Mickelthwate has worked with Dame Evelyn Glennie, Dawn Upshaw, Plácido Domingo, Leila Josefowitz, Louis Lortie, James Ehnes, Janina Fialkowska, Alban Gerhardt, Anton Kuerti, Horatio Gutiérrez, John Kimura Parker, Emanuel Ax, Leonidas Kavakos; worked closely with composers Kaija Saariaho, John Corigliano, Valgeir Sigurdsson, Daniel Bjarnason, R. Murray Schafer, Steven Stucky, Gabriel Prokofiev, Unsuk Chin, Magnus Lindberg, Nico Muhly, John Adams; and conducted the world premieres of John Tavener, Jóhann Jóhannsson, Mason Bates and many Canadian composers, amongst them, Vincent Ho and Derek Charke. 

 Always looking for a fresh approach and creative ways of crossing musical genres, Alexander Mickelthwate has collaborated with Iceland’s Bedroom Community, Wayne Shorter, Mark O’Connor, Belle and Sebastian, Jason Alexander, DJ P-Love, Canadian bands The Waking Eyes, The Liptonians and The Duhks.


February 2017

Armenian-American conductor Aram Demirjian is rapidly distinguishing himself in the orchestral world for his dynamic versatility on the podium and magnetic rapport with audiences of all musical backgrounds. Lauded for his “confident and expressive style” and “boundless energy” (Kansas City Star), Mr. Demirjian is devoted to forging strong connections between orchestras and audiences in both traditional and innovative concert settings and to creating education opportunities for concert-goers of all ages.

As Associate Conductor of the Kansas City Symphony (KCS), Mr. Demirjian is the principal and founding conductor of Classics Uncorked, a progressive new series designed to enhance and animate the concert experience using non-traditional elements like lighting effects, narration, thematic programming, audience interaction and more. He also conducts the KCS’s Family, Pops and Education series, and in 2013 he helped launch the monumentally successful Screenland at the Symphony series, combining work of classic cinema with live orchestra providing the soundtrack. The 2014/15 season included his subscription debut and his first performances of the complete Handel’s Messiah, which were hailed for their “zeal…and fresh perspective” (KC Metropolis).

Mr. Demirjian enjoys an increasingly busy guest conducting schedule, including forthcoming engagements with the Minnesota Orchestra, Louisiana Philharmonic and Knoxville Symphony, where he is a candidate for the music director position. Past engagements include the Omaha and Memphis symphonies, New England Conservatory Symphony and Tanglewood Music Center, where he conducted a performance of Kate Soper’s Helen Enfettered, which the New York Times called the “most memorable” offering on the 2014 Festival of Contemporary Music.

A passionate advocate for music education both in the concert hall and in the classroom, Mr. Demirjian conducts and hosts education concerts and presentations for over 40,000 students and adult learners annually, including the Carnegie Hall Link Up© program, which provides training on recorder for thousands of elementary students across the country. Increasingly in demand as a clinician, he has conducted the Massachusetts All State Orchestra in Boston’s historic Symphony Hall and is a frequent guest of the Youth Symphony of Kansas City, conducting yearly Side-by-Side performances with the KCS. Mr. Demirjian is a former faculty member of the New England Conservatory Preparatory School, where he founded and conducted the String Repertory Orchestra.

Equally at ease in the opera pit as on the podium, Mr. Demirjian has served as music director of Lowell House Opera, New England’s oldest opera company, leading the company’s first-ever production of Leonard Bernstein’s Candide.  In 2010, he produced and conducted a performance of Mozart’s The Marriage of Figaro with musicians from the Boston area as part of the Partners in Health charitable venture, “Symphonic Relief for Haiti,” and as a senior at Harvard University, he conducted and produced a semi-staged production of Aaron Copland’s rarely-performed The Tender Land as part of Harvard’s ArtsFirst weekend.

Mr. Demirjian has collaborated with an eclectic array of some of the most distinguished musicians and performers in the world, including Yo-Yo Ma and members of the Silk Road Ensemble, Kurt Masur, John Adams, pianists Joyce Yang and Robert Levin, violinists Stefan Jackiw and Ryu Goto, jazz saxophonist Bobby Watson, actor John Lithgow and singer-songwriter/composer Ben Folds. As a cover conductor with the Boston Symphony, Kansas City Symphony and Handel & Haydn Society, he has assisted many of the world’s most renowned maestros, including Christoph von Dohnányi, Manfred Honeck, Osmo Vänska, Robert Spano, Michael Stern, Bernard Labadie, Asher Fisch and Harry Christophers.

Mr. Demirjian is of full Armenian descent and is highly engaged in the Armenian arts community, having been a featured artist in the 59th Armenian Night at Pops and in multiple gala events for the Armenian General Benevolent Union (AGBU). He is an AGBU Performing Arts Scholar.

Mr. Demirjian holds the distinction of being one of only two conductors selected for the inaugural class of the Orchestral Conducting program at New England Conservatory, where he studied with Hugh Wolff and earned his Master of Music. He is an alumnus of the American Academy of Conducting at Aspen, where he was awarded the 2011 Robert J. Harth Conducting Prize. He also holds a Bachelor of Arts, cum laude, in music and government from Harvard University, where his conducting career began with a two-year appointment as music director of the Harvard Bach Society Orchestra.




March 2017

Rei Hotoda is rapidly becoming one of America’s most sought after and dynamic artists. She has appeared as a guest conductor with many of today’s leading ensembles, including the symphony orchestras of Baltimore, Chicago, Dallas, Edmonton, Fort Worth, Jacksonville, Utah, Toronto, and Winnipeg, as well as the Colorado Symphony and St. Louis Symphonies, the Las Vegas Philharmonic, and the Civic Orchestra of Chicago, among others.

Her repertoire spans the masterful staples of the classical cannon to works by the leading composers of today. She is equally at home leading the orchestra from the piano as well as from the podium. In the 2015-16 season Ms. Hotoda assumes the titled position of Associate Conductor of the Utah Symphony Orchestra—the first female to hold this position in the Orchestra’s 75-year history. In this new role, she will lead the orchestra in various programs for community as well as chamber concerts, regional tours, and at the Deer Valley Music Festival concerts in Park City.  She will play an active role in the orchestra’s education department, conducting family, education and outreach concerts. She will also be a spokesperson for the Utah Symphony in pre-concert lectures and community events and will act as a mentor for several youth orchestras in a variety of regional guest clinics and performances. Additional highlights of Ms. Hotoda’s 2015-16 season include guest conducting debuts with the North Carolina Symphony and Atlantic Classical Orchestra as well as a return engagement with the Winnipeg Symphony Orchestra.

Last season included return guest conducting appearances with the Dallas Symphony Orchestra (DSO) and the Las Vegas Philharmonic, as well as her debut with the Jacksonville Symphony Orchestra, members of the Chicago Symphony Orchestra, and the Utah Symphony Orchestra (USO).  While in Dallas she led the DSO in a myriad of programs, including selected Youth Concerts and DSO Family Concerts, and those of the DSO on the GO concert series. In January, she returned to the Las Vegas Philharmonic for a program featuring Dvořák’s Symphony No. 8 and Bruch’s Violin Concerto. She made her guest conducting debut with the Jacksonville Symphony Orchestra in April, leading the ensemble in Beethoven’s Symphony No. 6 (“Pastorale”) and Dvořák’s Cello Concerto with soloist Johannes Moser. In May she made her Chicago Symphony Orchestra guest conducting debut conducting an all-Tchaikovsky program in their new family series in the Western Suburbs. Most recently she made her conducting debut at the Deer Valley Music Festival, from the piano and the podium, in a program that featured Mozart’s Piano Concerto No.12 and Mendelssohn’s Symphony No.3 (‘Scottish’).

A consummate advocate of new music, Ms. Hotoda has conducted premieres of works by such notable composers as John Cage, Gene Coleman, Luc Ferrari, Dai Fujikura, and Salvatore Sciarrino, and has championed and recorded compositions by female composers, including Vivian Fung, Jennifer Higdon, and Kotoka Suzuki. She has led one of the country’s most noted contemporary groups, the International Contemporary Ensemble (ICE), in the US premiere of Dai Fujikura’s Abandoned Time a concerto for electric guitar.  As part of the Winnipeg New Music Festival, she appeared as both a pianist and conductor, performing works by such composers as George Crumb, Vincent Ho, and Erkki-Sven Tüür, and was a featured conductor and pianist leading the Winnipeg Symphony Orchestra in Brand Upon the Brain, a film by internationally renowned director, Guy Maddin. Most recently, Ms. Hotoda led the St. Louis Symphony, alongside David Robertson, in the US premiere of John Cage’s Thirty Pieces for Five Orchestras, which garnered much critical acclaim.

Prior to her growing achievements as a guest conductor, Ms. Hotoda has served as assistant conductor at several of today’s leading orchestras. Most recently, she completed a three-year tenure as the assistant conductor of the Dallas Symphony Orchestra (DSO) where she led the ensemble in many diverse series, and played a key role in their ongoing efforts to involve the local community.  She was the featured conductor in over 100 concerts, including DSO on the Go; Coffee and Classics; Teen Scene Concerts; the DSO’s series in Greenville, TX; Youth Concerts; Family Series; Pops Concerts; and Dallas Symphony Parks Concerts. Her relationship with the DSO continued in the 2014-15 season, where she led the orchestra as a guest conductor on various programs.

In addition to her work in Dallas, Ms. Hotoda was also the assistant conductor of the Winnipeg Symphony Orchestra and the Cabrillo Festival of Contemporary Music. In Winnipeg, Ms. Hotoda conducted many subscription concerts, including those on the Masterworks, Family Concerts, and Pops series, as well as programs that were part of the New Music and Baroque Festivals. She also actively participated in pre-concert lectures, community outreach—including leading the orchestra in its popular multi-media concerts, Musically Speaking—and enjoyed close interactions with the board and staff.  At the Cabrillo Festival, Ms. Hotoda worked very closely with Marin Alsop, the Festival’s Music Director, as her cover conductor, and led the world premiere of Rafael Hernandez’s Unfadeable.

Ms. Hotoda is also an accomplished pianist, appearing both as a featured soloist and conductor from the piano. She has appeared as soloist conducting from the piano with the Dallas, Edmonton, Utah, and Winnipeg Symphony Orchestras, performing works by Bach, Beethoven, and Mozart. As a soloist, she has presented works by Beethoven, Gershwin, and Rachmaninoff with the Clinton and Muscatine Symphony Orchestras. She has also given solo piano recitals at the Chicago Cultural Center, Ravinia Music Festival, and the University of Illinois.

As a recording artist, Ms. Hotoda’s credits are wide-ranging and feature her as both conductor and piano soloist. She recorded the music of Nicole Lizée with members of the Winnipeg Symphony Orchestra on an album released in 2008 on the Centrediscs label entitled, This Will Not be Televised. Also in 2008, Apparitions, her first recording as a solo pianist, was released by Signpost Records and featured works by Noriko Hisada, Vincent Ho, Vivian Fung, and Toru Takemitsu. Symphony Sessions was released in 2007 (Signpost Records), and featured Ms. Hotoda conducting the Winnipeg Symphony Orchestra in works by Steve Bell.

Her deep knowledge and remarkable versatility on and off the podium have led to several collaborations and special projects. She has worked with such ensembles and artists as the Canadian Brass, Jackie Evancho, Ben Folds, the Indigo Girls, Bridget Kibbey, Pink Martini, Idina Menzel and Joyce Yang.  In addition to her work as a pianist and conductor on Guy Maddin’s film Brand Upon the Brain, she was also a featured actress in a short film by the same director entitled, Send Me to the ‘Lectric Chair, starring Isabella Rossellini.

Ms. Hotoda is the proud recipient of several prestigious awards, including the 2006 Taki Concordia Conducting Fellowship, created by Marin Alsop to mentor women conductors. Additionally, she has received a Peabody Career Development Grant, the Women’s Philharmonic Scholarship, and an Illinois Arts Council International Arts Exchange Grant.

Ms. Hotoda studied conducting with Gustav Meier at the Peabody Institute in Baltimore, Maryland.  She holds a Doctor of Musical Arts in piano performance from the University of Southern California, and a Bachelor of Music in piano performance from the Eastman School of Music.


José Luis Novo

April 2017

Serving for just over a decade at the helm of the Annapolis Symphony Orchestra (ASO) in Maryland and the Binghamton Philharmonic (BPO) in New York State, José-Luis Novo has managed to instill a new artistic vision and leave his personal imprint in both organizations. His continuous drive for artistic excellence, innovative thematic programming, and collaborations with some of today’s most respected guest artists, have resulted in unprecedented artistic growth, praising audiences, and enthusiastic reviews.

The successful partnerships have received consistent critical acclaim: “Novo’s feeling for Bartók’s arch form unified it all and gave this performance a sweep and power that were truly memorable.” (Washington Post) “The Annapolis Symphony Orchestra unleashed a nasty, unremittingly exciting Shostakovich 10th that showed off the strengths of the ensemble that already has been reconfigured during Novo’s brief tenure.” (Baltimore Sun) “This entire evening was a series of glorious musical experiences that demonstrated the level of musical sophistication the ASO has attained.” (The Capital) “Watching Novo conduct Brahms evoked a sense of awe and gratitude. The Binghamton Philharmonic is one of our area's cultural gems…it invites us into an inner realm where we encounter our spirit — our soul.” (Binghamton’s Press & Sun-Bulletin)

 Maestro José-Luis Novo was appointed music director and conductor of the ASO in 2005, and has been the music director and conductor of the BPO since 2003. Prior to these appointments, he served as Assistant Conductor of the Cincinnati Symphony Orchestra under the direction of both music director emeritus Jesús López-Cobos and former music director Paavo Järvi, and the Cincinnati Pops Orchestra under the late Erich Kunzel.

 Some of the Annapolis Symphony Orchestra’s highlights during Maestro Novo’s tenure include a 2016 return appearance at the Music Center at Strathmore with cellist Lynn Harrell, a 2012 return appearance at the Clarice Smith Performing Arts Center with mezzo-soprano Denyce Graves for the ASO’s 50th Anniversary Gala Concert, a 2008 ASCAP Adventurous Programming Award, a national broadcast on NPR’s Performance Today, local broadcasts on Baltimore’s Classical Station WBJC and the launching of the ASO’s first commercial CD commemorating the 300th anniversary of the signing of Annapolis’ Royal CharterAdditionally, the organization Meet

the Composer granted the ASO a two-year Music Alive Residency (2011-2013) with Latin Grammy Award-winning composer Gabriela Lena Frank, and the League of American Orchestras recognized the ASO’s potential and selected it nationwide as one of only five participants in the Institutional Vision Leadership Initiative two-year seminar (2005–2007). 

 Upon a most successful debut with the Thailand Philharmonic Orchestra for the Thailand International Composition Festival in Bangkok in July of 2015, Maestro Novo was immediately re-engaged for two additional programs during the 2015–2016 season. Other recent and upcoming guest conducting engagements include a debut appearance with the Rochester Philharmonic Orchestra, return appearances with the Fresno Philharmonic, Baltimore Symphony, Symphoria, and an impressive Kimmel Center debut in Philadelphia conducting the Curtis Institute Orchestra in a last minute replacement for an ailing Maestro Otto Werner Mueller.  Prior guest conducting engagements have included, among others, appearances with the Symphony Silicon Valley, the Minnesota Orchestra, the Syracuse, Modesto, Tulsa, Windsor, Stamford, and Tallahassee Symphonies; the Cincinnati Chamber Orchestra; the Cleveland and Abilene Philharmonics; the Tenerife, Principado de Asturias, and Castilla y León Symphony Orchestras; the City of Granada Orchestra; the Andrés Segovia Chamber Orchestra at the National Auditorium in Madrid, the Vallés Symphony Orchestra at the Palau de la Música in Barcelona, and the Echternach Festival Orchestra at the Kennedy Center and on tour in Luxembourg and Germany.

A committed advocate of contemporary music, Maestro Novo has led more than a dozen world premieres of commissioned compositions.  In the operatic field, he made his debut conducting a production of Smetana’s The Bartered Bride in collaboration with the late Maestro Julius Rudel and subsequently has conducted productions of Britten’s Albert Herring, Menotti’s Old Maid and the Thief, and Vaughan Williams’ Riders to the Sea.

 While maintaining a relevant professional conducting career, Mr. Novo has also developed a reputation as a keen educator of young musicians.  He has held the positions of Music Director of the Cincinnati Symphony Youth Orchestra and the Miami University Symphony Orchestra, Associate Conductor of the National Repertory Orchestra, and Assistant Conductor of the National Youth Orchestra of Spain and the Yale Symphony Orchestra. Since 1999 he has been on the conducting faculty at the Eastern Music Festival in Greensboro, North Carolina, where he currently holds the position of Associate Conductor.  In addition, he has conducted many noteworthy college and youth orchestras.  Among these are the Curtis Institute Orchestra, the National Repertory Orchestra, the University of Maryland Symphony, the Cleveland Institute of Music Orchestra, the Bard Conservatory Orchestra, the Ithaca College Symphony Orchestra and the Portuguesa State Youth Orchestra of the Venezuelan El Sistema.  In the summer of 1998 he took the National Youth Orchestra of Spain on a concert tour of Spain and Portugal, with performances at the Teatro Real in Madrid and the World Exposition in Lisbon.

 As a violinist, Mr. Novo has appeared in concerts and recitals in Europe and in the United States and has made recordings for the Spanish and Norwegian National Radios.  He is a founding member of several important ensembles in which he has held leading positions: as concertmaster and soloist with the Youth Chamber Orchestra of Spain, as principal second violin of the New Amsterdam Sinfonietta, and as concertmaster of the National Youth Orchestra of Spain.

 José-Luis Novo began his musical studies at the conservatory of Valladolid—his hometown, obtaining the degree of Profesor Superior de Violín with honors in solfege, harmony, and violin.  A scholarship from the Spanish Ministry of Culture allowed him to continue his studies at the Royal Conservatory of Music in Brussels, where he earned a First Prize in violin.  In 1988, he came to the United States as a Fulbright Scholar, obtaining both Master of Music and Master of Musical Arts degrees from Yale University, where he was also bestowed the Frances G. Wickes Award and the Yale School of Music Alumni Association Prize.  In 1992, the Spanish foundation La Caixa awarded him a fellowship to study at the Cleveland Institute of Music where he completed a Master of Music degree in orchestral conducting.  He concluded his conducting studies at the University of Cincinnati College-Conservatory of Music.  His conducting teachers have included Gerhard Samuel, Carl Topilow, Louis Lane, Edmon Colomer, James Ross, and Charles Bruck (at the Pierre Monteux School in Maine).  In addition, Mr. Novo has attended seminars and master classes with Günther Herbig, Lorin Maazel, Cristoph von Dohnänyi, Leonard Slatkin, Larry Rachleff, Daniel Lewis, and Victor Yampolsky.

 Mr. Novo is the recipient of a 2010 Annie Award in Performing Arts from the Arts Council of Anne Arundel County, a 2008 ASCAP Adventurous Programming Award, and a 2005 Broome County Arts Council Heart of the Arts Award.