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KAREN
KELTNER conductor at work |
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photos: ©
ML Hart*
| "The
way I make music, how I conduct... it's not only with the stick, but with
the eyes. I need to be in constant eye contact with the members of the
orchestra. Communication is happening all the time... I know when they
need guidance or are playing with complete confidence." * "Power is not what attracted me [to conducting]. I have always adored the collaborative process, and you can't get much more collaborative than opera." ** "Conducting is like life. You can love something and smother it to death, or you can step back and watch that thing or that person take a life of its own and come to fruition. You can be so proud of what you've engendered." ** "I love this part of my life because I feel that I'm the best conductor I've ever been. When you begin, you're so intent on doing everything right that you don't let yourself come to something unfettered. When music is working right, you can just get out of its way and let it happen."** |
MYRON
FINK, composer - The Conquistador: "The
conductor is the one who really creates the whole performance. She sets
the tempo, the spirit and the momentum. Music notation is an approximate
thing and Karen, who had a remarkable, intuitive grasp of the piece,
defined exactly what I meant." ** |
Offstage:
Light Moments

...with
frequent collaborators: American composer Carlisle Floyd
and bel canto maestro Richard Bonynge
Note:
*
Photos and Keltner quote: ML
Hart, "The Art of Making Opera," San Diego Opera, 1997; 222
pp.
** Charlene Baldridge, "The Maestra's Many Lives," Performing Arts:
Performing Arts Network, April 2000, pp. 48-52.
A
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