The ‘Converse Conductor’ Fighting Elitism in Classical Music

The Baltimore Symphony Orchestra had just finished performing Respighi’s “Pines of Rome” on a recent evening when the ensemble’s new music director, Jonathon Heyward, returned to the stage at Joseph Meyerhoff Symphony Hall.

Rugs and chairs had been brought out to evoke a living room, for an intimate, late-night conversation with the audience about music and life. Wearing Converse sneakers and sipping from a glass of Scotch, Heyward, 31, discussed Respighi, his first season as music director and becoming a father. (His daughter, Ottilie, was born in May.) It was the kind of casual gathering that Heyward, who takes the helm of the Festival Orchestra of Lincoln Center this month, has championed as he works to expand the audience for classical music.

“This art form is for everyone,” he said in an interview later. “We want everyone to feel welcome here.”

Heyward’s efforts to break down barriers in the concert hall have earned him a nickname: the Converse conductor. He is part of a generation of young maestros, including Teddy Abrams in Kentucky and Anthony Parnther in California, who are trying to shed classical music’s elitist image. These rising stars are also hoping to help their orchestras get beyond the disruption of the pandemic by embracing a diverse array of artists and genres, and bringing more music into the community.

Those ideas were on display on a recent night in Baltimore, when about 3,000 people gathered at Fort McHenry, a national monument, to hear Heyward lead a concert that paid tribute to construction workers killed in the collapse of the Francis Scott Key Bridge. The Baltimore Symphony performed somber works like Samuel Barber’s Adagio for Strings, and Florence Price’s “The Deserted Garden,” as well as pieces by local artists, including the hip-hop performer Anthony Parker, who goes by the stage name Wordsmith.

Heyward, the son of a Black father and a white mother — and the first person of color to lead the Baltimore Symphony in its 108-year history — says that orchestras have an obligation to reflect their communities.