Events & Tickets
NWS AT HARD ROCK STADIUM
Hard Rock Stadium
347 Don Shula Dr, Miami Gardens, FL 33056
- Michael Tilson Thomas, conductor
- Christian Tetzlaff, violin
- Susanna Mälkki, conductor
- Dean Whiteside, conductor
- Musicians of the New World Symphony
NWS hosts a special in-person WALLCAST® concert experience at Hard Rock Stadium! Enjoy the Fellows, MTT and special guests in program highlights from previous seasons, live performances by this season's Fellows and more surprises. This event marks the season’s second in-person event and will be a celebration of the communal concert-going experience, one of the great traditions of classical music, in a safe, socially distanced setting.
This event is currently only available to NWS subscribers at the Vivace and Allegro levels. To secure your spot, email the NWS Box Office at email@example.com or call 305.673.3331. Tickets are first come, first served and capacity is limited.
Approx. Duration: 5 minutes
Overture to Ruslan and Ludmilla
Approx. Duration: 16 minutes
Till Eulenspiegel’s Merry Pranks, Op. 28
Approx. Duration: 8 minutes
Round Dances of Spring
Approx. Duration: 27 minutes
Concerto in E minor for Violin and Orchestra, Op. 64
Allegro molto appassionato
Allegretto non troppo – Allegro molto vivace
Approx. Duration: 15 minutes
Capriccio espagnol, Op. 34
Scene and Gypsy Song
Overture to Ruslan and Ludmilla
Approximate duration: 5 minutes
Mikhail Glinka was a trailblazer in the development of a Russian style of composition, and his works were the first from his country to earn international acclaim. Born into a noble family, he came to music through the folksongs he picked up from servants on his estate. He learned much from his time among the intelligentsia of Saint Petersburg and during his travels through the country, but he owed even more to the three years he spent in Italy, where he mingled with the likes of Donizetti and Bellini and absorbed the latest in bel canto opera writing. Upon his return to Russia, he made a splash with his first opera, A Life for the Tsar.
For his operatic follow-up, Glinka adapted Ruslan and Ludmilla, a fantastical story by Alexander Pushkin. (Glinka had hoped to work directly with Pushkin, five years his senior, but alas the poet died in a duel in 1837.) The plot follows Ludmilla, the daughter of the prince of Kiev, who is abducted by monsters doing the bidding of an evil wizard. The knight Ruslan sets off the rescue her, and after many trials and magical interventions he brings her home and they marry.
The opera’s Overture begins with festive music that foreshadows the wedding celebration. Near its end, a passage of wandering dissonance hints at the supernatural mischief to come.
Till Eulenspiegel’s Merry Pranks, Op. 28
Approximate duration: 16 minutes
Up to the point when Richard Strauss accepted his first professional post at the age of 21, his musical personality reflected the influence of his father, Franz Strauss, the greatest horn player of the era and a staunch traditionalist devoted to Haydn, Mozart and Beethoven. Franz also ran an amateur orchestra that would read through young Richard’s scores, an extraordinary resource for a budding orchestral composer and conductor.
A whole new world opened up for Strauss when he began working as the conducting assistant to Hans von Bülow at the Meiningen Court Orchestra in 1885. Guided by his new friend Alexander Ritter, a violinist in the orchestra (and nephew-in-law of Wagner), Strauss devoured the music of Wagner and Liszt. Ritter encouraged Strauss to write “symphonic poems,” to use Liszt’s term, and Strauss ended up writing four such works between 1886 and 1889.
After a hiatus, Strauss returned in 1894 to the genre that he preferred to call Tondichtung, or “tone poem.” His next subject was Till Eulenspiegel, a trickster character from German folklore. Strauss had tried adapting Till’s colorful antics into an opera, but the scenario was a little thin for a full-fledged theatrical work, so he redirected his ideas into a concert work “after the old rogue’s tale, set in rondo form,” as he defined it in the subtitle.
Strauss did not follow a strict program outline when he composed Till Eulenspiegel’s Merry Pranks, nor did his formal design particularly match the conventions of a Classical rondo. The most explicit character is Till himself, represented by a jocular horn theme. Another recurring motive, introduced by the clarinet, suggests Till’s peals of laughter.
Later, Strauss offered some vignettes from the Till Eulenspiegel folklore as plot points in the music, including Till riding through the market and tipping over the carts, Till flirting with the ladies and Till impersonating a priest. He characterized the episode following the drum roll as Till’s trial and execution at the gallows, a scene not traditionally part of the prankster’s mythology, but dramatically effective nonetheless.
Round Dances of Spring
Approximate duration: 8 minutes
Claude Debussy drew inspiration from outside of typical musical channels, with interests ranging from Indonesian gamelan music to Symbolist poetry. He was especially interested in visual arts and it is easy to find parallels between his musical language and the paintings of his French contemporaries, the Impressionists (e.g., Monet and Renoir) and Post- Impressionists (e.g., Cézanne and Gauguin).
Debussy demonstrated an artist’s eye for observation in a series of works composed between 1905 and 1912, all titled Images, comprising two books for solo piano and an orchestral triptych. The first two portions of the orchestral suite, Gigues and Ibéria, evoked the foreign lands of Great Britain (the home of the jig dance, or gigue in French parlance) and Spain, respectively.
The final portion, Rondes de printemps (Round Dances of Spring), used quotations of French children’s songs to place the setting in Debussy’s homeland. At the beginning, unstable harmonies and chromatic motives bring out the unsettled and wild elements of springtime. The music becomes more bouncy and cheerful, and several times it arrives at a joyous modal theme, but this tone poem is as changeable as spring itself, never lingering for long in any one atmosphere.
Concerto in E minor for Violin and Orchestra, Op. 64
Approximate duration: 27 minutes
Felix Mendelssohn, grandson of the noted philosopher Moses Mendelssohn and son of a prominent banker, was afforded every opportunity to develop his considerable musical talents. As a teenager in Berlin, when he wasn’t composing or mounting performances in his family’s private theater, he gathered to play chamber music with other talented youngsters, including Ferdinand David, a virtuoso violinist one year his junior. The two budding stars remained lifelong friends and collaborators.
When Mendelssohn became Music Director of the Leipzig Gewandhaus Orchestra in 1835, he invited David to join the orchestra as concertmaster. “I’d like to write a violin concerto for you next winter,” Mendelssohn went on to suggest in 1838. “One in E minor sticks in my head, the beginning of which will not leave me in peace.”
The Concerto gestated for six years, until Mendelssohn fleshed it out in the summer of 1844. While writing the work, he corresponded frequently with David about violin technique, even asking for additional advice after sending the score off to be published. David debuted the Concerto in 1845, accompanied by Mendelssohn’s orchestra. When Mendelssohn died two years later following a series of strokes, the Violin Concerto remained his last completed orchestral work.
Mendelssohn’s Violin Concerto is full of innovations in form and texture, but perhaps its most radical quality comes from what it lacks: gratuitous showmanship. While the violin protagonist certainly encounters technical challenges and brilliant passages, every gesture is at the service of a shared musical discourse with the orchestra. Some of the most magical moments are those that defy conventional responsibilities, as when the violin launches immediately into the brooding first theme.
It leaves that same melody to the orchestra after the cadenza, instead countering with ghostly arpeggios. A single held bassoon note links the first movement to the second, blooming into a heartbreaking “song without words” crooned by the violin. As the slow movement recedes, a halting transition builds anticipation for the finale.
The finale enters by heralding the sunny new home key of E major, until the violin dives into the flirty main theme. The buoyant material affords ample opportunities for glitzy passagework, while a regal contrasting theme introduces a note of grandeur. It is fitting that this last major theme reworks the rhythms and intervals of the violin’s initial melody; what first appeared in the concerto as a lonely, searing question returns transformed into a knowing answer, expounded together in a mood of communal cheer.
Capriccio espagnol, Op. 34
Approximate duration: 15 minutes
Nikolai Rimsky-Korsakov rose to prominence among the group of nationalist composers known as the “Russian Five.” In the wake of a successful fantasy for violin and orchestra on Russian themes, he turned to Spain for inspiration in Capriccio espagnol. Between that work and his next published opus, the Arabian-themed Scheherezade, Rimsky-Korsakov established a model for sparkling, evocative orchestration that is still the envy of composers to this day.
Capriccio espagnol begins with festive wake-up call in the form of an Alborada, the morning equivalent of an evening serenade. In the Variations movement that follows, the horns present a sweet and peaceful theme over a steady accompaniment. The variations offer a master class in orchestration, reframing the same slow-moving theme in a dazzling array of symphonic colors. A slightly modified repeat of the Alborada, transposed to a different key, bookends the Variations movement.
The most demonstrably “Spanish” music of Capriccio espagnol comes in the dramatic fourth movement labeled Scene and Gypsy Song. Solo cadenzas capture the free-flowing spirit of the cante jondo, or “deep song,” an emotionally charged style of flamenco singing.
The final movement takes up a Spanish folk dance style, the Fandango. The Gaelic tone of the music is well suited to the remote northern region of Asturias, which was settled by the Celts (who brought a form of bagpipes) and never conquered by the Moors.
-- © Aaron Grad
Aaron Grad is a composer, guitarist and writer based in Seattle. Besides providing program notes for the New World Symphony, he has been the Orpheus Chamber Orchestra’s program annotator since 2005 and also contributes notes to the Saint Paul Chamber Orchestra and Seattle Symphony.
Parking at Hard Rock Stadium (HRS) is free for ticket holders. HRS is located at 347 Don Shula Drive, Miami Gardens, 33056. Please park near Gate 5, located on NW 26th Ave. Click here for map.
All cars will be parked in every other space to ensure adequate spacing between vehicles.
Food and Beverage Options
Food and beverages are available for mobile ordering and delivery. Text “Dolphins” to 474747 to start. No outside food or drink is allowed at HRS.
Seating will be provided by HRS and attendees do not need to bring their own chairs or blankets.
Please use the restrooms closest to your location, indicated by signage. Face coverings are required in restrooms.
Restroom entrance doors will be propped open for the duration of the event for touchless entry and exit, and capacity is limited to 50% to promote social distancing. Housekeeping staff will regularly monitor and clean restrooms during the event.
The following items are not allowed at Hard Rock Stadium. Security requires a check of all bags and purses, and all guests must enter through metal detectors.
- Animals (Except those certified animals who are assisting guests with disabilities)
- Outside Food or Drink of any kind
- Noise Makers of any kind
- No tents or umbrellas are allowed during the show
- Cameras with lenses exceeding 6”
- Weapons of any kind (Fireworks, Knives, Pocket Knives) etc.
- No smoking is allowed at any time while inside of Hard Rock Stadium
NWS at Hard Rock Stadium will take place rain or shine.
If there is lightning in the area, HRS will place a message on the video board, asking guests to exit to their cars safely. HRS re-assesses lightning every 30 minutes and when it is safe to re-enter for the event its staff will let all guests know. Only lightning within 8 miles will delay the event.
HRS acknowledges the significant impact that COVID-19 has had on the health and safety of people worldwide. The health and safety of our guests and staff remain our top priorities. HRS’s goal is to conduct public and private events within our facilities in a safe manner, in compliance with current federal, state and local government rules, regulations and guidance. HRS will continue to monitor CDC, federal, state and local guidance and will adjust its policies, as necessary.
HRS’s Safety Requirements include:
- Event staff and guests are required to wear face coverings at all times, unless actively eating or drinking.
- All guests must use hand sanitizer stations at HRS entry before being admitted.
- HRS expects its staff and guests to undertake social distancing measures in accordance with federal, state and local rules, regulations and guidelines. As such, please avoid congregating with other guests, and follow facility markings and signage.
- Guests should not attend any event at any Hard Rock Stadium facility if: they have, or if someone in their household has COVID-19 symptoms; they currently have, or someone in their household has, COVID-19; or if they have traveled within the last 14 days to an area with substantial community spread of COVID-19.
- By entering HRS property, each guest, on behalf of the guest and his/her next of kin, VOLUNTARILY ASSUME ALL RISKS, HAZARDS AND DANGERS incident to such guest’s presence on such property, including, without limitation, the risk of personal injury (including death), the risk of exposure to communicable diseases, viruses, bacteria or illnesses or the causes thereof, sickness, or lost, stolen or damaged property, whether occurring before, during, or after such guest’s presence on such property, however caused, and hereby waives all claims and potential claims relating to such risks, hazards and dangers.
Michael Tilson Thomas is Co-Founder and Artistic Director of the New World Symphony, America’s Orchestral Academy; Music Director Laureate of the San Francisco Symphony; and Conductor Laureate of the London Symphony Orchestra. In addition to these posts, he maintains an active presence guest conducting with the major orchestras of Europe and the United States.
Born in Los Angeles, Mr. Tilson Thomas is the third generation of his family to follow an artistic career. His grandparents, Boris and Bessie Thomashefsky, were founding members of the Yiddish Theater in America. His father, Ted Thomas, was a producer in the Mercury Theater Company in New York before moving to Los Angeles where he worked in films and television. His mother, Roberta Thomas, was the head of research for Columbia Pictures.
Mr. Tilson Thomas began his formal studies at the University of Southern California, where he studied piano with John Crown, and conducting and composition with Ingolf Dahl. At age 19 he was named Music Director of the Young Musicians Foundation Debut Orchestra. During this same period, he was the pianist and conductor in master classes of Gregor Piatigorsky and Jascha Heifetz and worked with Stravinsky, Boulez, Stockhausen and Copland on premieres of their compositions at Los Angeles’ Monday Evening Concerts.
In 1969, after winning the Koussevitzky Prize at Tanglewood, he was appointed Assistant Conductor of the Boston Symphony Orchestra. That year he also made his New York debut with the Boston Symphony and gained international recognition after replacing Music Director William Steinberg in mid-concert. He was later appointed Principal Guest Conductor of the Boston Symphony Orchestra where he remained until 1974. He was Music Director of the Buffalo Philharmonic from 1971 to 1979 and a Principal Guest Conductor of the Los Angeles Philharmonic from 1981 to 1985. His guest conducting includes appearances with the major orchestras of Europe and the United States.
Mr. Tilson Thomas is a two-time Carnegie Hall Perspectives artist, curating and conducting series at the hall from 2003 to 2005 and from 2018 to 2019. In the most recent series, he led Carnegie Hall’s National Youth Orchestra of the United States of America both at the hall and on tour in Asia, opened the Carnegie Hall season over two evenings with the San Francisco Symphony, conducted two programs with the Vienna Philharmonic and finished with a pair of concerts leading the New World Symphony.
A winner of eleven Grammy Awards, Mr. Tilson Thomas appears on more than 120 recordings. His discography includes The Mahler Project, a collection of the composer’s complete symphonies and works for voice and orchestra performed with the San Francisco Symphony, in addition to pioneering recordings of music by Charles Ives, Carl Ruggles, Steve Reich, John Cage, Ingolf Dahl, Morton Feldman, George Gershwin, John McLaughlin and Elvis Costello. His recordings span repertoire from Bach and Beethoven to Debussy and Stravinsky, and from Sarah Vaughan to Metallica.
His television work includes a series with the London Symphony Orchestra for BBC Television, broadcasts of the New York Philharmonic Young People’s Concerts from 1971 to 1977 and numerous productions on PBS’s Great Performances. With the San Francisco Symphony, he created a multi-tiered media project, Keeping Score, which includes a television series, web sites, and radio programs. He received a Peabody Award for his SFS Media radio series The MTT Files.
Mr. Tilson Thomas’s compositions are published by G. Schirmer. In 1991, he and the New World Symphony were presented in a series of benefit concerts for UNICEF in the United States, featuring Audrey Hepburn as narrator of his work From the Diary of Anne Frank, which was commissioned by UNICEF. This piece has since been translated and performed in many languages worldwide. In August 1995, he led the Pacific Music Festival Orchestra in the premiere of his composition Shówa/Shoáh, commemorating the 50th anniversary of the bombing of Hiroshima. His vocal music includes settings of poetry by Walt Whitman and Emily Dickinson, which were premiered by Thomas Hampson and Renée Fleming, respectively. In 2016, Yuja Wang premiered his piano piece You Come Here Often?.
Mr. Tilson Thomas' song cycle Four Preludes on Playthings of the Wind, a setting of Carl Sandburg’s poem, was premiered in 2016 by the New World Symphony, with Measha Brueggergosman as soloist. In 2019 the piece was recorded for Medici.tv at the New World Center and given its New York premiere as part of Mr. Tilson Thomas’s second Carnegie Hall Perspectives series. His first Perspectives series also featured performances of his own compositions, including Island Music for four marimbas and percussion; Notturno for solo flute and strings, featuring soloist Paula Robison; and new settings of poems by Rainer Maria Rilke. In 2020, he led the San Francisco Symphony in the world premiere of his six-part song cycle Meditations on Rilke, and he subsequently conducted the work at the Cleveland Orchestra. Additional compositions include Street Song for brass instruments; Agnegram, an overture for orchestra; and Urban Legend, a concerto for contrabassoon that was premiered by the San Francisco Symphony. In June 2020, SFS Media released an album of works composed by Mr. Tilson Thomas, featuring live concert recordings of From the Diary of Anne Frank, narrated by mezzo-soprano Isabel Leonard, and Meditations on Rilke, sung by mezzo-soprano Sasha Cooke and bass-baritone Ryan McKinny.
Mr. Tilson Thomas is an Officier de l’Ordre des Arts et des Lettres of France, is a member of the American Academy of Arts and Sciences, was Musical America’s Musician of the Year and Conductor of the Year, was Gramophone magazine’s Artist of the Year and has been profiled on CBS’s 60 Minutes and ABC’s Nightline. He has been awarded the National Medal of Arts, has been inducted into the California Hall of Fame and the American Academy of Arts and Letters, and was a 2019 recipient of the Kennedy Center Honors.
Christian Tetzlaff, violin
An artist known for his musical integrity, technical assurance and intelligent, compelling interpretations, Christian Tetzlaff has for many years been internationally recognized as one of the most sought-after violinists and exciting musicians on the classical music scene.
Concerts with Mr. Tetzlaff often turn into an existential experience for both the interpreter and the audience; suddenly familiar works appear in a completely new light. From the outset of his career, he has performed and recorded a broad spectrum of the repertoire, ranging from Bach's unaccompanied sonatas and partitas to 19th-century masterworks by Mendelssohn, Beethoven and Brahms; and from 20th-century concertos by Bartók, Berg and Shostakovich to world premieres of contemporary works such as the Jorg Widmann Violin Concerto. A dedicated chamber musician, he frequently collaborates with distinguished artists including Leif Ove Andsnes and Lars Vogt, and is the founder of the Tetzlaff Quartet, which he formed in 1994 with violinist Elisabeth Kufferath, violist Hanna Weinmeister and his sister, cellist Tanja Tetzlaff.
Mr. Tetzlaff works regularly with the world's leading orchestras, collaborating with conductors including Christoph Eschenbach, Andris Nelsons, Antonio Pappano, Robin Ticciati, Vladimir Jurowski, Paavo Järvi and Manfred Honeck. In North America, he performs with the orchestras of Chicago, Cleveland, Boston, Philadelphia, New York, Los Angeles, St. Louis, Pittsburgh, Minnesota and Montreal, among many others, as well as with major European ensembles including the Berlin and Vienna philharmonics, London Symphony and London Philharmonic, Leipzig Gewandhaus Orchestra, Dresden Staatskappelle and the Royal Concertgebouw Orchestra in Amsterdam. He also appears at the world’s most prominent summer music festivals, including Verbier, Salzburg, Tanglewood, Edinburgh, The Proms and New York’s Mostly Mozart Festival.
During the 2018-19 season, Mr. Tetzlaff returns to Tanglewood to work with the Boston Symphony under Thomas Adès, as well as to the Cleveland and National Arts Centre orchestras and the Detroit, New World and Toronto symphonies. He is the featured soloist on a U.S. tour with the San Francisco Symphony and Michael Tilson Thomas, with performances in Chicago, Washington, D.C., Boston and Seattle; and tours with his trio partners, Tanja Tetzlaff and Lars Vogt, to Los Angeles, San Francisco, Vancouver, New York, Washington, D.C. and Denver. Internationally, he tours Vietnam with the NHK Symphony Orchestra and appears with the London Symphony, Deutsches Symphonie-Orchester Berlin, Munich Philharmonic and Helsinki Philharmonic; and is Artist in Residence at London’s Wigmore Hall.
Mr. Tetzlaff has received numerous awards for his many recordings, including the Diapason d’or in July 2018, the Midem Classical Award in 2017 and the German Record Critics’ Award in 2015. Most recently, his recording of the Bartók Violin Concertos with the Helsinki Philharmonic and Hannu Lintu was chosen as the Gramophone Concerto Recording of the Year. Of special significance is his recording of the unaccompanied Bach Sonatas and Partitas, which he recorded for the third time in 2017 for Ondine.
Music occupied a central place in Mr. Tetzlaff’s family and his three siblings are all professional musicians. Born in Hamburg in 1966, he did not begin intensive study of the violin until making his concert debut playing the Beethoven Violin Concerto at the age of 14 and attributes the establishment of his musical outlook to his teacher at the conservatory in Lübeck, Uwe-Martin Haiberg, for whom musical interpretation was the key to violin technique, rather than the other way around.
Mr. Tetzlaff currently performs on a violin modeled after a Guarneri del Gesu made by German violin maker Peter Greiner.
Susanna Mälkki, conductor
A much sought-after artist on the international conducting circuit, Susanna Mälkki’s versatility and broad repertoire have taken her to symphony and chamber orchestras, contemporary music ensembles and opera houses across the world. Appointed as the Chief Conductor of the Helsinki Philharmonic Orchestra, effective from the 2016-17 season, she has been Principal Guest Conductor of the Gulbenkian Orchestra since 2013 and was previously Music Director of the Ensemble Intercontemporain and Artistic Director of Stavanger Symfoniorkester.
As a guest conductor at the highest level in both Europe and North America, Ms. Mälkki’s recent highlights include returns to the San Francisco Symphony, Los Angeles Philharmonic, Royal Stockholm Philharmonic Orchestra and Aldeburgh Festival, where she conducted the U.K. premiere of A Pierre Dream: A Portrait of Pierre Boulez. Notable recent debuts include The Philadelphia Orchestra, The Cleveland Orchestra, New York Philharmonic, Chamber Orchestra of Europe and Teatro La Fenice.
Summer 2015 saw Ms. Mälkki return to the BBC Proms conducting the BBC Symphony Orchestra in the U.K. premiere of Francesconi’s Violin Concerto performed by Leila Josefowicz. Highlights in 2015-16 include returns to the Chicago Symphony, New World Symphony, Bayerischer Rundfunk, Wiener Symphoniker at the Bregenzer Festival, London Sinfonietta and Oslo Philharmonic. She also made her debut with the London Philharmonic Orchestra and Orquesta y Coro Nacionales de España in November 2015.
A renowned opera conductor, Ms. Mälkki performed The Marriage of Figaro with the Finnish National Opera in August 2014 and followed this with her Staatsoper Hamburg debut, conducting a revival of Janáček’s Jenůfa. In 2011 she made her debut at Teatro alla Scala, Milan—the first woman to conduct a production there in the company’s history—and returned in 2014. Future highlights include a return to Opéra national de Paris conducting a Francesconi premiere, where she previously conducted the world premiere of a ballet by Bruno Mantovani and in 2013 conducted Janáček’s The Makropolous Case.
A former student at the Sibelius Academy, Ms. Mälkki studied with Jorma Panula and Leif Segerstam. Prior to her conducting studies, she had a successful career as a cellist and from 1995 to 1998 was one of the principals of the Gothenburg Symphony. In June 2010 she was elected a Fellow of the Royal Academy of Music in London, and she is also a member of the Royal Swedish Academy of Music. In 2011 Ms. Mälkki was awarded the Pro Finlandia Medal of the Order of the Lion of Finland, one of Finland’s highest honors.
Dean Whiteside was born in New York City and trained in Vienna at the University of Music and Performing Arts. He is a former New World Symphony Conducting Fellow. Mr. Whiteside is founder and director of the Nashville Sinfonietta, hailed by The Tennessean as “a virtuoso band.” He opened the Blair School of Music’s 2013-14 season directing a multimedia realization of Haydn’s Seven Last Words of Our Savior on the Cross called “innovative” by The Tennessean and “deeply meditative and satisfyingly original” by ArtsNash.
Mr. Whiteside’s European debut came in 2011 after winning the Jorma Panula Blue Danube Masterclass and Competition. He has conducted orchestras such as the Boston Symphony, Danish National Symphony, Jacksonville Symphony, Juilliard Orchestra, Opéra Orchestre National Montpellier, Orlando Philharmonic, Polish Baltic Philharmonic, Sibiu Philharmonic, Tonhalle Orchestra Zurich, Tokyo Philharmonic, Wiener Kammerorchester and Zagreb Philharmonic, as well as the Vanderbilt Orchestra on a five-city tour of China. He has served as Cover Conductor to the Dallas Symphony and San Francisco Symphony.
Mr. Whiteside is the winner of the American Prize in Conducting and received second prize and the Zagreb Philharmonic Orchestra Award at the Sixth International Competition of Young Conductors Lovro von Matačić. Other awards include the 2017 Mahler Conducting Fellowship, Bruno Walter Memorial Foundation Conducting Scholarship, Croatian Composers' Society Award, David Effron Conducting Fellowship, Bayreuth Festival Scholarship and David Rabin Performance Prize. He has received fellowships from the Aspen Music Festival, Atlantic Music Festival, Cabrillo Festival of Contemporary Music and Castleton Festival.
Mr. Whiteside has worked closely with such conductors as Bertrand de Billy, Fabio Luisi, Lorin Maazel, Jun Märkl, Kurt Masur, Jorma Panula, Leonard Slatkin and Robert Spano. He began his conducting studies with Robin Fountain at Vanderbilt University.
A laboratory for the way music is taught, presented and experienced, the New World Symphony consists of 77 young musicians who are granted fellowships lasting up to three years. The fellowship program offers in-depth exposure to traditional and modern repertoire, professional development training and personalized experiences working with leading guest conductors, soloists and visiting faculty.
NWS Fellows take advantage of the innovative performance facilities and state-of-the art practice and ensemble rooms of the Frank Gehry-designed New World Center, the campus of the New World Symphony and home of the Knight New Media Center.
In the hopes of joining NWS, more than 1,150 recent music school and conservatory graduates compete for available fellowships each year. The Fellows are selected for this highly competitive, prestigious opportunity based on their musical achievement and promise, as well as their passion for the future of classical music.