MYCANAL – ON DEMAND – DOCUMENTARY
By chance, or by design, the documentary The Conductor (2021), by Bernadette Wegenstein, which portrays the North American conductor Marin Alsop (born in 1956), takes up the original title of the film Antonia, the conductor (2018), by Maria Peters. This one retraced, in a rather romanticized way, the life of another American chef, Antonia Brico (1902-1989).
The latter was countered in her aspirations, at a time when women versed in this activity were rare and occasionally invited by major orchestras – such as the French Nadia Boulanger (1887-1979). When Marin Alsop in turn wanted to embrace the profession, the time was not yet ripe for the thing: she knocked on closed doors for a long time before imposing herself by the force of her stubbornness.
Only fifteen years ago, when Marin Alsop was appointed music director of the Baltimore Symphony Orchestra, she faced the opposition of some of the musicians before convincing them – to the point that her contract was going to be renewed until 2021. His case made, in a way, “jurisprudence”.
Ordinary misogyny
Bernadette Wegenstein, an Austrian feminist, body historian and documentary filmmaker, follows Marin Alsop with the orchestras she was in charge of at the time of filming: the Baltimore Symphony Orchestra (which she left in June 2021), the Sao Paulo State Symphony Orchestra (from 2012 to 2019) and the Vienna Radio Symphony Orchestra (since 2019). The camera also shows some moments of intimacy in the family kitchen of the Baltimore home that Marin Alsop shares with his wife, Kristin Jurkscheit, and their son.
Not much is said regarding the possible homophobia Marin Alsop might have suffered during her career, in addition to the ordinary misogyny she experienced. The chef has never hidden her life, but does not make it here more than elsewhere a standard. However, we would have liked the director to invite her to develop the interesting concept of “feminine gesture” which she discusses with two of her assistant chefs.
We are delighted to see her caring regarding the dissemination of music to disadvantaged populations, especially African-American. And, while black instrumentalists are absent from symphony orchestras, it is with pleasure that the profession of conductor attracts some young African-Americans, with whom Marin Alsop acts as a mentor.
The documentary would have gained a perspective not hiding behind the claim, questionable, that Marin Alsop is the “first woman to have conducted a major American orchestra”. But she is indeed the first to have been appointed music director of a band that is certainly not in the “ligue 1” of American orchestras, but which is among the best in the country.
Along with others – Claire Gibault, in France – Marin Alsop has paved the way, and it is now very many conductors who are seen conducting prestigious orchestras and/or being appointed musical director or first guest conductor. As, most recently, the French Nathalie Stutzmann at the Philadelphia Orchestra. Without being artistically exceptional, Marin Alsop is a reliable conductor, with a wide repertoire, whose career as a fighter deserved this filmed portrait.
The Conductor, documentary by Bernadette Wegenstein (EU, 2021, 90 min). On myCANAL until March 7.
