Susan Bullock’s unique position as one of the world’s most sought-after dramatic sopranos was recognised by a CBE in 2014. Her Brünnhilde has garnered outstanding praise, leading Susan to become the first soprano to sing four consecutive cycles of Der Ring des Nibelungen at the Royal Opera House. Appearances as Elektra have brought equal acclaim. She has collaborated with conductors including Sir Antonio Pappano, Fabio Luisi, Semyon Bychkov, Seiji Ozawa, Sir Mark Elder, Zubin Mehta, Esa-Pekka Salonen, Johannes Debus, and Edo de Waart. Popular appearances have included Last Night of the Proms in 2011 and the London 2012 Olympics closing ceremony. Susan was the Artist in Resident at the 2020/21 Copenhagen Opera Festival and begins a new role as Chair of Vocal Studies at the Escuela Superior de Música Reina Sofía Madrid this season.
Susan’s discography includes Der Ring des Nibelungen with Oper Frankfurt under Sebastian Weigle on OehmsClassics (also available on DVD) and the title role in Salome with the Philharmonia Orchestra under Sir Charles Mackerras for Chandos.
Scottish Opera appearances: Mother, Breaking the Waves (European premiere), Mother, Greek.
Operatic engagements include: Klytaemnestra in Elektra (Canadian Opera Company); Liz Stride in Jack the Ripper (English National Opera); Kostelnička in Jenůfa (Grange Park Opera and Den Norske Opera); Gertrude and The Witch in Hänsel und Gretel (Opera North, Grange Park Opera); Mrs Lovett in Sweeney Todd (Houston Grand Opera, Bergen National Opera); Magdelone in Maskarade (Oper Frankfurt).
Vanessa is a UK-based Intimacy Coordinator for screen and stage.
Intimacy Coordination credits for theatre include: Medea (National Theatre of Scotland); Red Ellen (Northern Stage, Nottingham Playhouse & Royal Lyceum Edinburgh); The Scent of Roses (Edinburgh Lyceum); The Panopticon (National Theatre of Scotland); Anatomy of a Suicide, San Diego, Dead Man Walking (Royal Conservatoire of Scotland).
TV/Film credits include: I Hate Suzie and Wolfe (Sky); Good Omens Series 2 (Amazon); Outlander Series 6 & 7 (Starz); Vikings: Valhalla (MGM/Netflix) and Rules of the Game (BBC).
Alongside her work, Vanessa has contributed to the Directors UK Guidelines: Directing Nudity and Simulated Sex, and founded the Intimacy Practitioners’ Guild (IPG) alongside fellow industry professionals.
Sam studied Drama at The University of Manchester before training with the National Youth Theatre. He then attended Guildford School of Acting where he graduated with a Distinction in 2019. He now works as an actor in theatre and film and is a client of Mel Cursons at TTA.
Theatre engagements include: From Rushmere with Love at Sir John Mills Theatre (Eastern Angles); Luke in Pretty Shrewd (Vienna’s English Theatre); Thomas Killigrew in Nell Gwynn; Brick in Cat on a Hot Tin Roof; Hamlet in Everyday Shakespeare; Lysander in A Midsummer Night’s Dream; Lysander in Not That Strange (DIY Shakespeare at RSC's 'The Dell' Festival); Meredith in Eat the Young (National Youth Theatre); Hansel in Hansel and Gretel (Bigfoot Arts Education); Jesse in Forgive- Me-Not (No Door Theatre); Al in Mind the Gap (Nomad Welders Productions).
Film credits: Border Guard in Tape (feature); James in The Palbready Arms (short, also co-wrote); Daniel in My Friend Daniel (short); Alex in Trevor (short); Adam in The Switch (short, also directed).
Annemiek is a stage director and theatre and opera maker. She has been an assistant/staff director for companies such as Royal Opera House, Dutch National Opera, English National Opera, Opernhaus Zürich, Opera Zuid, Teatru Manoel, Opera Up Close, and Lyrique-en-Mer. Together with writer Claudia Marinaro she runs the theatre company And Many Others, with whom she has made three productions: Polar Bear and Boy, No Fixed Abode, and the ACE-funded Becoming Mohammed. She is currently directing Ewige Weg, an opera about Kurt Weill in collaboration with Opera Zuid and Theatre de la Ville de Luxembourg. Future projects include Revival Director for Alice im Wunderland at Opernhaus Zürich, co-creator of the new opera Nadia with Britten Pears Arts, and Associate Director for Eugene Onegin in Magdeburg.
Recent directing credits include: Albert Herring, Gianni Schicchi (St Paul’s Opera); Helena (Tete-a-Tete); Nele Needs A Holiday (KVS Brussel, Edinburgh Fringe, Latitude, Ovalhouse); End of An Era (Arcola Theatre).
British stage director Jack Furness is the founder and Artistic Director of Shadwell Opera. He studied music at Cambridge University, where he received a double first-class honours degree, and in the 2015/16 season he was an Emerging Artist Director for Scottish Opera.
For Scottish Opera: Iolanta, Opera Highlights 2015/16, Down in the Valley and Der Jasager for Scottish Opera Connect.
Directing highlights include: Rusalka (Garsington Opera); Don Giovanni (Nevill Holt Opera); Gianni Schicchi (Copenhagen Opera Festival); Dido and Aeneas (Royal Academy of Music); revival director of Sir David McVicar’s Carmen (Dallas Opera); revival director of Kasper Holten’s Don Giovanni (Royal Opera House); Where the Wild Things Are, Albert Herring, Die Zauberflöte, Così fan tutte, A Midsummer Night’s Dream, Siren Song, In the Penal Colony, The Lighthouse, a double-bill of Erwartung and Twice Through the Heart (Shadwell Opera); Così fan tutte, Le nozze di Figaro, Don Giovanni (Teatru Manoel, Malta); The Rape of Lucretia (Royal Conservatoire of Scotland); Written on Skin, Lessons in Love and Violence (Melos Sinfonia); Down in the Valley, Der Jasager (Opera North Youth Company); Amadis de Gaule (University College Opera); Hansel and Gretel (Wexford Festival); Eugene Onegin (Ryedale Festival Opera); Falstaff (Opera Integra); I Found My Horn (Marlowe Society); assistant director of Laurent Pelly’s L’elisir d’amore, Andre Serban’s Turandot, and Robert Carsen’s Der Rosenkavalier (Royal Opera House).
David Goodall has been working as a fight director since 1981. From rapiers to pickaxe handles, he has swung most objects at most people and helped them do likewise to each other. For theatre has has directed fights throughout the UK, Canada, and Europe, including for Scottish Opera’s A Midsummer Night’s Dream in 2022. On film he is responsible for causing a stramash in Beats, Limbo, Sunshine On Leith, Red Road, and other productions. On TV he has encouraged people to poke each other aggressively – but safely – on shows including Shetland, Deadwater Fell, The Loch, Demon Headmaster, and in days gone by Rebus and Taggart. He is behind all the kung fu shenanigans on MI High and the cult show Phoo Action. In truth, most of the work is done by his cat, Mr Socks. Wearing other hats, he maintains a recipe blog and is an award-winning film director.
Having studied German and Drama at Goldsmiths College, Clare worked in lighting in various theatres including Sadler’s Wells and The National Theatre before becoming Deputy Lighting Manager of Glyndebourne Festival Opera. After assisting renowned lighting designer Jennifer Tipton, Clare managed her own design reviving operas and dance performances for companies including The Royal Opera House and Deutsche Oper Berlin. She combines design with production engineer work, making and installing lighting effects for international events.
Lighting Design includes: No Particular Order (Ellandar Productions / Theatre 503); Bird/Manchild (Amina Khayyam Dance Company); Helter Skelter (Cockpit Theatre); Freud’s Last Session (Nearly There Productions); Blu and The Magic Web (Truestory Theatre); Dido and Aeneas (Royal Academy of Music); Frankenstein and Great Expectations (National Youth Theatre); The Marriage of Figaro, and Don Giovanni (Glyndebourne Touring Opera); One Snowy Night (Seabright Productions); Slideshow (Slot Machine); Down By The Greenwood Side (Brighton Festival); Eat This/Drink That, The Finnish Prisoner, and The Young Visiters (The Paddock); Ghatam (ATMA Dance); Guys and Dolls (Central School of Speech and Drama); Tycho’s Dream, Into The Harbour, and Lovers Walk (Glyndebourne Youth Opera); The New World Order (Hydrocracker/Brighton Festival); So Close To Home (Mapp Productions/Arcola Theatre/Brighton Festival); Here’s What I Did with My Body One Day (Lightworks).
Born in Glasgow, tenor Jamie MacDougall has sung with Scottish Opera, Opera Holland Park, English National Opera and Opera North, as well as with companies across Europe and Canada. He has also presented Grace Notes and Classics Unwrapped on BBC Radio Scotland, as well as regularly presenting broadcasts for BBC Radio 3. He has performed as a soloist with pianists including Malcolm Martineau, Susan Tomes, Graham Johnson, Roger Vignoles and Julius Drake, and has sung at the Edinburgh International Festival, Perth Festival Australia, and the Salzburg and Aldeburgh festivals. In 2017 he was artist in residence at the St Andrews Voices festival. His extensive discography of more than 40 releases covers Baroque and Classical music, as well as German, Scottish and English song.
Scottish Opera appearances: Tom Snout in A Midsummer Night’s Dream, Bardolfo in Falstaff, Dancing Master in Ariadne auf Naxos, Lauder.
For Scottish Opera: Pagliacci, Hansel and Gretel
Designs for opera include: Double Bill, Dart’s Love, Circus Tricks, Salad Days, The Cumnor Affair, Blind Date, Odysseus Unwound, Push!, A Shetland Odyssey, Family Matters, Six-Pack, Orlando Plays Mad, and Shorts (Tête à Tête); Die Entführung aus dem Serail, Hansel and Gretel, and La Cenerentola (Iford Arts); Revival!, Grazina, Bird of Night, and Another America: Earth (ROH2); Enleveringen ur Seraljen (Läckö Slottsopera); Die Fledermaus (ETO).
Other designs include: Moonlight and Magnolias, The Cherry Orchard, The Glass Menagerie, The Importance of Being Earnest and 13 pantomimes (Nottingham Playhouse); The Secret Garden (Sarasota Ballet); The Rise and Fall of Little Voice, Pinocchio, Cox and Box – Mrs Bouncer’s Legacy, The Last Train to Scarborough, Laughton, The Price of Everything, and Boston Marriage (Stephen Joseph Theatre, Scarborough); over 30 shows at The Orange Tree Theatre; A Touch of the Sun, Five Finger Exercise, Rutherford and Son, and See How They Run (Salisbury Playhouse); Mother Goose (Watford Palace Theatre); Birdsong (Royal Shakespeare Company, The Other Place); Beyond Midnight, and The Smallest Person (Trestle Theatre Company); Betrayal (Northcott Theatre, Exeter); Blood Wedding, The Tempest; Waiting for Godot, The Crucible, The Provok’d Wife, and The Duchess of Malfi (Mercury Theatre, Colchester); Rumpelstiltskin (Unicorn Theatre); Red Riding Hood (Warwick Arts Centre Theatre).
Born in the Borders, Anthony Moffat trained at London’s Royal Academy of Music with the Armenian soloist and leader Manoug Parikian. As a member of the Da Vinci Trio, he has toured Scotland and appeared on BBC Radio 3. His career as orchestra leader began when he became co-leader of the Hallé, and he took up the post of Leader of The Orchestra of Scottish Opera in 2000. He has appeared as guest leader at Opera North, and with the Bergen Philharmonic Orchestra, BBC Concert Orchestra, BBC Scottish Symphony Orchestra, Bournemouth Symphony Orchestra, Royal Scottish National Orchestra, Royal Liverpool Philharmonic Orchestra, City of Birmingham Symphony Orchestra, National Symphony Orchestra of Ireland and the Orchestra of Welsh National Opera. He has also been invited to guest lead the BBC Symphony Orchestra. He plays on a fine Italian violin made in 1695 by Giovanni Grancino.
William trained at the Royal College of Music and the National Opera Studio, and is an English National Opera Harewood Artist.
Scottish Opera appearances: Marco in The Gondoliers, Captain Fitzbattleaxe in Utopia, Limited, Tamino in The Magic Flute, Misael in The Burning Fiery Furnace, Tenor in The 8th Door, Opera Highlights 2017/18.
Operatic engagements include: Tom Rakewell in The Rake’s Progress (Gothenburg Symphony); Writer in Jack the Ripper, Hot Biscuit Slim in Paul Bunyan, First Priest in The Mask of Orpheus, Phaeton in The Day After (English National Opera); Peter Quint in The Turn of the Screw (ENO/Regents Park Open Air Theatre); Younger Man in Between Worlds (ENO/Barbican Theatre); Ferrando in Cosi fan tutte, Don Ottavio in Don Giovanni, Anthony in Sweeney Todd (Longborough Festival); Talus in Raising Icarus (Birmingham Contemporary Music Group); Prunier in La Rondine (West Green House); Pastore/Spirito in L’Orfeo (Bayerische Staatsoper); Spoletta in Tosca (Nevill Holt Opera); Cervantes in The Queen’s Lace Handkerchief (Opera della Luna, Wilton’s Music Hall); Hippolyte et Aricie (Glyndebourne); Antonio in Das Liebesverbot (Chelsea Opera).
Maisie is a choreographer and director. She trained at Liverpool Hope University (BA), Oxford University (MFA), and on the Made in Bristol programme at The Bristol Old Vic. She was recently Young Company Director at The Bristol Old Vic, a director on Headlong Theatre’s Origins programme for directors based outside London, and creative fellow at University College London.
Choreography credits include: Our House is on Fire (The Egg Theatre), Make More Noise (The Bristol Old Vic Theatre), The Little Things (Tobacco Factory Theatres), WULF (Bristol Ferment), The Love of The Nightingale (Studio Walkabout, The Bristol Old Vic), St Joan of the Stockyards (The Bristol Old Vic Studio), Swallow (The Bristol Old Vic Theatre School), Spill (The Bristol Old Vic Studio and UK tour).
Directing credits include: Opal Fruits (Bristol Old Vic and Pleasence Futures), Vixen (Travelling Light Theatre), Posh (Bristol School of Acting), Antigone (Weston Studio, The Bristol Old Vic), How to Start a Fire (Stockroom, previously Out of Joint), Rechnitz (The Exterminating Angel) (Headlong Theatre).
Prizes and awards: Brian Forbes Directing Bursary at The National Youth Theatre; Eric Gregory Award for a collection of poetry from the Society of Authors; Herald Angel award for Zugunruhe (Mechanimal).
Tim has worked as Head of Video for the National Theatre of Scotland and toured internationally.
Scottish Opera credits: The Tsar Has His Photograph Taken and Ghost Patrol (co-production with Music Theatre Wales), Clockwork (co-production with Visible Fictions)
Credits include: Oresteia (Park Avenue Armory, Almeida Theatre, West End); Romeo and Juliet (Cumbernauld Theatre); Family Portrait (Barrowland Ballet); It Takes All Ten (Tron Theatre); First Piano on the Moon and Oh Yes We Are! (Perth Theatre); Remember? (Nunah Theatre); Chaplin, The Tramp (Slovakia National Ballet); Mary Stuart (Almeida Theatre, West End); Macbeth, Quiz, Fracked! (Chichester Festival); 1984 (Broadway/West End/Almeida/Tour); Ivanov (Stuttgart); The Red Barn (National Theatre); Show Boat (Sheffield Crucible/West End); The Bubbly Black Girl Sheds Her Chameleon Skin (Theatre Royal Stratford East); If You Kiss Me, Kiss Me and La Musica (Young Vic); Blood Wedding (Dundee Rep/Graeae/Derby Playhouse); Meeting Bea and Where is Peter Rabbit? (The Old Laundry Theatre); Stemmer (Bergen National Opera); Scale (Scottish Dance Theatre); England in a Pink Blouse (Grid Iron); A Christmas Carol (Royal Lyceum Edinburgh); The Effect, Love Your Soldiers, and The History Boys (Sheffield Crucible); Quiz Show, and Tree of Knowledge (Traverse Theatre); Biding Time (Remix), Music Is Torture (Tromolo Productions); Educating Ronnie (HighTide/MacRobert Arts Centre Stirling); Can We Talk About This? (DV8 Physical Theatre); Girl X, 99… 100, and Peter Pan and Miracle Man (National Theatre of Scotland); Playback (Ankur Productions); The Not-So-Fatal Death of Grandpa Fredo, Bright Black, and How to Steal a Diamond (Vox Motus); Treasure Island, One Giant Leap, and Arthur (Wee Stories); as Projection Designer, Wild Swans (Young Vic/ART).
Ronald Samm was born and grew up in Trinidad, West Indies. He studied singing and piano at the Guildhall School of Music and Drama, followed by postgraduate study at the Royal Northern College of Music and the National Opera Studio.
Scottish Opera appearances: Canio in Pagliacci
Operatic engagements include: Peter in Porgy and Bess (English National Opera, Dutch National Opera, Theater an der Wien); Olim in Der Silbersee (English Touring Opera); Iro in Il ritorno d’Ulisee in partria (Grange Festival); title role in Otello, Tambourmajor in Wozzeck, and Florestan in Fidelio (Birmingham Opera Company, Festspielchor Reinsberg); title role in Otello, First Armed Man in The Magic Flute, and Big Prisoner in From the House of the Dead (Opera North); Lazarus in The Gospel According to the Other Mary (Theater Bonn); Canio in Pagliacci, and Orfeo in Orfeo ed Euridice (Everyman, Cork); Siegfried in Götterdämmerung Act III (Oper Wuppertal); Siegmund in Die Walküre (Teatro Nacional de São Carlos); Walther von Stolzing in Die Meistersinger von Nürnberg (Fulham Opera); Security Guard in Between Worlds (English National Opera); Sportin’ Life in Porgy and Bess (Opéra de Lyon, Edinburgh International Festival); Jake in Porgy and Bess (Pavillion Multiusos, Lisbon).
Recordings include Fidelio with the Festspielchor Reinsberg (NCA); Sweeny Todd with the Münchner Rundfunkorchester (BR Klassik); and Aida from the Bregenz Festival (C Major).
Scottish Opera Emerging Artist 2021-23
Lea Shaw is an award-winning Black+BIPOC mezzo-soprano from Colorado, USA. She now lives and works in Scotland and is an alumnus of the Royal Conservatoire of Scotland where she received her BMus with Distinction of the First Class, a Masters of Music, and a Masters of Opera from the Alexander Gibson Opera School. She was supported through her education by Help Musicians UK, The Musicians Company, the Dewar Awards, and the Drake Calleja Trust.
Scottish Opera appearances: Zerlina in Don Giovanni, Neighbour in Mavra, Hermia in A Midsummer Night’s Dream, cover Kalyba in Utopia, Limited, cover Tessa in The Gondoliers, Opera Highlights Autumn 2021, Chorus in The Fiery Angel.
Operatic engagements include: Second Witch in Dido and Aeneas, Bianca in The Rape of Lucretia, Polly Peachum in Die Dreigroschenoper, Mère Jéanne in Les Dialogues des Carmélites, Sesto in Giulio Cesare in Egitto, Minskwoman in Flight, and L’Enfant in L’enfant et les Sortilèges (Royal Conservatoire of Scotland). As a chorus member, Lea’s repertoire includes Hansel and Gretel (St. Magnus International Festival); Sir John in Love, The Rake’s Progress, Die Fledermaus, Street Scene, Dido and Aeneas, Elektra, Salome, and Götterdämmerung (Edinburgh International Festival).
Liverpudlian baritone Dan Shelvey was a member of the National Opera Studio 2017/18, a Glyndebourne Jerwood Artist 2015, winner of the Fredric Cox Award for Singing, and recipient of the Richard Van Allen prize. He is an alumnus of the Guildhall School of Music and Drama and the Royal Northern College of Music.
Scottish Opera appearances: Opera Highlights Spring 2022, Luiz in The Gondoliers
Operatic engagements include: Baldr in The Monstrous Child (Royal Opera House); Ozzie in On the Town (Hyogo Performing Arts Centre); Ecclittico in Il mondo della luna (New Chamber Opera); Marchese d’Obigny in La traviata, and cover Morales in Carmen (Glyndebourne Festival Opera); Junius in The Rape of Lucretia (Guildhall School of Music and Drama); Aeneas in Dido and Aeneas (Silk Opera); Ulisse in Il ritorno d’Ulisse in patria, Sid in Albert Herring, and Boris in Paradise Moscow (Royal Northern College of Music).
Scottish Opera debut
Paula was awarded the Tagor Gold Medal from the Royal College of Music and won the Karavoitis Prize in the Les Azureal International Competition. She recently performed Poulenc’s La Voix Humaine for English Touring Opera’s socially distanced Autumn 2020 season. She has performed on stages and concert platforms across the UK, the United States, and Europe. Paula was born in Tennessee and has since made the UK her home. She recently wrote a libretto for a children’s opera which was premiered for English Touring Opera in Spring 2021. She is also a passionate singing teacher who has experience working in the NHS Voice Clinic.
Operatic engagements include: Tsaritsa of Shemakha in Golden Cockerel, Mimi in La Bohème, and Elettra in Idomeneo with English Touring Opera. Recent roles include Donna Anna in Don Giovanni (Longborough Festival Opera); Giulietta in Un Giorno di Regno, and the title role in Thais (Chelsea Opera Group); Cunegonde in Candide (Iford Arts).
As a concert soloist: Mahler 8th Symphony (Opera North Symphony Orchestra); Mahler 2nd Symphony, Strauss Four Last Songs, Rossini Stabat Mater, Mozart’s Requiem, Beethoven Missa Solemnis and Mass in C, Dvořák Te Deum, Britten War Requiem (Southampton Philharmonic and London Mozart Players).
Praised for ‘intense engagement and energy’ (The Telegraph) and ‘razor sharp’ musical direction (Times Literary Supplement), conductor Stuart Stratford was appointed Scottish Opera’s Music Director in 2015. Recent Company highlights include Don Giovanni, The Miserly Knight/Mavra, A Midsummer Night’s Dream, Così fan tutte (at Lammermuir Festival), Falstaff (at Edinburgh International Festival); Anthropocene (world premiere), and Breaking the Waves (European premiere). In the UK Stratford has conducted for English National Opera, Opera North, Welsh National Opera, Opera Holland Park, Birmingham Opera Company, and Buxton Festival. His repertoire includes Il trittico, La fanciulla del West, Tosca, Il barbiere di Siviglia, Don Giovanni, Cavalleria Rusticana, Pagliacci, L’amico Fritz, Iris, Silvano, Rigoletto, Giovanna d’Arco, Lucia di Lammermoor, Orfeo ed Euridice, Eugene Onegin, Iolanta, The Queen of Spades, La forza del Destino, Khovanshchina, Jenůfa, Kátya Kabanová, Faust, The Turn of the Screw, Satyagraha, Candide, and three by Jonathan Dove: Swanhunter, L’altra Euridice, and Tobias and the Angel. Outside the UK, he has worked at Finnish National Opera (Doctor Atomic); Theater St Gallen (Un ballo in maschera); Estonian National Opera (Faust); and in Hong Kong (A Midsummer Night’s Dream). Stratford has conducted orchestras and ensembles including the London Philharmonic Orchestra, BBC Philharmonic, Royal Philharmonic Orchestra, London Symphony Orchestra, Birmingham Symphony Orchestra, City of London Sinfonia, Manchester Camerata, Porto Symphony Orchestra, Orchestra of the Algarve, Perm Opera and Ballet Theater, Viva Sinfonia, Remix Ensemble, and Ural Symphony Orchestra in Yekaterinburg where he gave the Russian premieres of Momentum (Turnage) and Airport Scenes (Dove).
Susannah read Music at The University of Manchester, followed by piano scholarships to the Royal Northern College of Music and the Royal Scottish Academy of Music and Drama. As a Repetiteur at Scottish Opera since 2008, she made her conducting debut with Carmina Burana at the Edinburgh Fringe Festival and has been Assistant Conductor for Nixon in China, Kátya Kabanová, and Greek (Brooklyn Academy of Music), The Trial, Orfeo ed Euridice, and Macbeth. Additionally, she was Music Director from the piano for the acclaimed small-scale tours of Carmen, La traviata, Rodelinda, Macbeth, and Opera Highlights 2012. She has prepared the chorus for many operas including Breaking the Waves (touring to Adelaide in 2020), Rigoletto, Edgar, The Marriage of Figaro, L’amico Fritz, Il trovatore, and Orfeo ed Euridice (BBC Radio 3 broadcast). Susannah is also Music Director for the Helensburgh Oratorio Choir, conducting several concerts a year, most recently Bach’s St John Passion, and commissioning Breathing Place by Aileen Sweeney, broadcast on BBC Radio 3. Susannah frequently coaches at the Alexander Gibson Opera School at the RCS. She is a current recipient of the prestigious Conducting Fellowship at The Dallas Opera and a GEMMA Classical Music Award for conducting.