When Cuban conductor Jessica Altarriba (MM ’24, Conducting) steps on the podium, she brings with her a global perspective, a passion for championing underrepresented musicians, and a self-described mission as the composer’s messenger. A 2024–26 Taki Alsop Conducting Fellow, Altarriba has conducted in Cuba, Germany, and Spain. She is assistant conductor of the Utah Symphony, and in 2023- 24 was the New Jersey Symphony’s first-ever Colton Conducting Fellow and Chicago Sinfonietta’s Freeman Conducting Fellow.
What inspired your career?
I’m a flutist and pianist. In Cuba, our pedagogy comes from Russia, so you learn your instrument with classical music. We didn’t have a full high school orchestra. I met my first conductor, Cosette Valdes, while rehearsing Peter and the Wolf with my college orchestra. That day, I discovered the best way to express myself is through the podium. I saw how it was possible for so many people to do the same thing and be so connected yet so different. After that rehearsal, Cosette became my first conducting teacher.
How are you championing racial and gender representation at the podium?
In Cuba, there is a lot of equity and diversity across the arts. No one pays attention to your color. In Spain, people reminded me that I didn’t belong because I didn’t look like the white guy. In the U.S., there are fewer conductors of color. I decided that I needed to be part of this conversation from the podium and fight for the next generation. I choose repertoire by unrepresented people and take every chance I get to talk with young people. As the Colton Conducting Fellow, I talked with students and did educational concerts. At the National Seminario Orchestra- Ravinia, I conducted 140 students from all over the world. Afterward, I received [many] messages saying that [participants] didn’t feel as alone as musicians coming from minority communities and pursuing their dreams. We’re starting to see a change.
What has your Peabody mentor, Marin Alsop, taught you?
We first met when she came to Spain to conduct the Vienna Radio Symphony Orchestra. It was one of the most beautiful moments I ever had with a musician and artist. She is so humble and encouraging. [Previously] I had applied for the Taki Alsop Fellowship but did not get it. To my surprise, Marin replied and suggested that I come to Peabody and study with her. I had two days to apply, but it was a once-in-a-lifetime opportunity. I received the Taki Alsop Fellowship last year.
Marin is a real artist who is committed to humanity. She’s taught me to be kind. She always makes time and has this sense of protection about what she doesn’t want the next generation of female conductors to experience.
Why is communicating as important as conducting for you?
Empathy is my first rule because you have 80 people playing with you who have their own struggles and worries. I could be their daughter’s age, so I need to have kindness and humility. I always come prepared and share expectations and musical ideas. The orchestra may have played Beethoven three times this season. What am I bringing that’s fresh? Marin advises that I need to communicate to remove the wall between the audience and musicians. For some concerts, you can’t talk, but I like to engage an audience about what to expect.
How have your fellowships impacted your work?
As the first Colton Conducting Fellow, I learned so much about the real world of orchestras. As a young conductor, you are always hungry to discover the pieces, traditions, and musical possibilities. At Chicago Sinfonietta, Music Director Mei-Ann Chen taught us how orchestras work, how to audition, how to speak to an audience, and more. Conducting is a long path and process. I know technically what to do, but the fellowships helped me discover what’s going to work and not work. Now in Utah, I am seeing how much I can grow.