Q&A: Meet the maestro of the Virginia Symphony Orchestra
March 29, 2016
By Joanne Kimberlin
The Virginian-Pilot
Happy 25th, JoAnn Falletta. A quarter of a century spent conducting our Virginia Symphony Orchestra. Melodies coursing through your petite frame. Highlighted hair flying.
And yet, we hardly know you.
Falletta – even her name has a lyrical note – understands. She knows her world has a certain rep that tends to keep people out:
Pretentious. Boring. Not cool.
Naturally, she disagrees. Symphonies are the kind of stuff that sets us apart from the animals. And forget what you’ve seen in the movies – uptight people in uptight clothes.
Come comfortable, Falletta says. No rules. And no airs.
None with her, at least. She juggles two homes – bouncing between Hampton Roads and Buffalo, N.Y., where she leads that city’s orchestra, too. She doesn’t care for fancy clothes. Is still married to her high school sweetheart. Plays a mean guitar.
And at rehearsals, who cares if her musicians check their phones every time they think she’s not looking?
Pull up a chair. Meet our maestro.
Falletta is tickled to talk with someone outside her bubble.
Q: Let’s get this out of the way: Superman or Batman – which one would win the real throw-down?
A: (laughing) Batman. I’ve always liked him. He’s just kind of cool, you know?
Q: Tell us about that little stick you conductor types are always waving around.
A: It’s called a baton, and believe me, it’s the cheapest instrument on the stage! Someone makes mine especially for me – they’re just painted wood – but he makes them in the length I like, 14 inches. All it does is elongate my arm, so musicians in the back can see me better. I think mine cost about $20.
Q: Most embarrassing concert moment?
A: Well, there’s a railing to keep me from falling off the podium, so that’s good. But I have lost my grip on a few batons. Tossed them right into the audience. You just keep going like nothing happened.
Q: There’s a giant photo of you on a building on Waterside Drive. Feel weird when you drive by?
A: (covering her eyes) I don’t examine it too closely. I don’t want to.
Q: What do conductors in movies always get wrong?
A: They’re usually these egotistical giants, with big hair and capes, very dramatic. A friend has me watching “Mozart in the Jungle” (an Amazon TV series). The conductor in it does not know what he’s doing. But he’s kinda smoldering, so I don’t really care (smile).
Q: All those galas you attend – is your closet stuffed with sparkly dresses?
A: Not really. I have a few formals, which get worn more than once. I’m not much of a style person. I’m more jeans and sweaters.
Q: Is your dressing room showered with flowers?
A: It’s a place to drop my coat and purse. Nothing fancy. No flowers. Performing isn’t as glamorous as people imagine. The luxurious parts you hear about are generally not true.
Q: Speaking of purses, yours looks heavy. What’s in the bag?
A: Oh, my goodness. Energy bars, extra contact solution, money, Vitamin C pills, pretty much everything I need to survive – and some things I probably haven’t used in years. I envy those women who can change purses all the time. I can’t seem to manage that.
Q: What do you listen to in the car?
A: Honestly, mostly classical music. But I also love show tunes, big band, classic jazz. I guess that’s old-fashioned, huh?
Q: What was your teenage jam?
A: I grew up in the ’60s, so it was all of them: Simon & Garfunkel, Cat Stevens, Emerson, Lake and Palmer, Chicago. That music is so full of nostalgia for me. When I hear it, it takes me right back. Such wonderful times. Troubled, too.
Q: Stones or Beatles?
A: Beatles first. Then I got into the Stones. They were both doing incredible things.
Q: If you could be anything else, what?
A: It’s hard to think of anything else. This is all I’ve thought about my whole life.
Q: Is there something you’d like to learn more about?
A: Everything. I’ve always been so exclusively focused on music. Wouldn’t it be nice to take a class on philosophy? Or Chinese?
Q: What do you wish more people knew about the symphony?
A: It’s so powerful. So moving. The human head is wired for music. It lights up the entire brain. I wish I could test someone. Walk in feeling frustrated and aggravated. Leave two hours later feeling better about the world.
Q: What do you do when you’re not working?
A: What everyone does: laundry, grocery shop, try to get some exercise. I like to bike. Do yoga. My favorite thing is to sit and read. I love a good murder-mystery.
Q: Ruthless or merciful at Monopoly?
A: My sister is ruthless. I’m more merciful.
Q: Something about you that might surprise your musicians?
A: After 25 years, most of them know me pretty well. Maybe that I like to snorkel?
Q: If we came to your house for dinner, what would you serve?
A: Pasta. I don’t cook much, so that’s my easy go-to. I love it, coming from an Italian family. Pasta with all kinds of sauces.
Q: Do you dance when no one’s looking?
A: I do dance. I like ballroom, but my husband doesn’t care for it. I’m always trying to get him to go.
Q: Wendy’s or McDonald’s?
A. McDonald’s. I’ve always liked that little fish sandwich thing they have.
Q: What do you NOT like to do?
A: Watch TV, I suppose. It’s always too violent or too political. I guess I find it upsetting.
Q: Symphonies struggle for new fans. Why?
A: It’s hard to convince people that this isn’t dull or dusty or snooty. People have so many other options now, but this is our musical heritage. The most extraordinary work of hundreds of composers. Like precious paintings in a museum.
Q: Does the audience play a role in a concert?
A: Oh yes. I can feel them behind my back – leaning forward in their chairs or holding their breaths. It inspires us, to know they’re swept into it. We can also feel it when they’re not – when they’re restless, coughing and moving around.
Q: How does a conductor get the most out of an orchestra?
A: Think of a director. You’re working with professionals, who learn the details of their parts. You take the mountaintop view. Make it all come together and make sense. Create an atmosphere for excellence. And you shape the performance. Even the same play comes out a little different in the hands of different directors.
Q: If you could get rid of one U.S. state, which?
A: Oh no! I’m not going to answer that. I have to play in them all!
