Maestra Puts Women Conductors on the Pedestal Where They Belong

Linda Twine was my introduction into the world of women conductors long before Academy Award winner Cate Blanchett scorched the screen in Tar.  Twine, a Broadway legend has served as Musical Director, arranger and/or conductor for Tony winning productions of Jelly’s Last Jam, Caroline or Change, The Color Purple and Lena Horne: The Lady and Her Music. Other notable women conductors are Nadia Boulanger, Helen Quach and Kennedy Honor recipient Tania Leon.

With less than 3% of all orchestras worldwide having women conductors, Maestra is more important than ever.  Directed by Maggie Contreras and executive produced by David Letterman, this eye-opening documentary chronicles five incredible women from around the world sharing personal stories of survival, passion and perseverance while competing in the “La Maestra” competition for female orchestra conductors.

A lot more physical than one would imagination, these women concentrate on keeping the power and tension in their entire body and hands while ascertaining what could be the right or wrong emotion conveyed while telling the story alongside their fellow musicians in the orchestra.  Just as women are challenged in every other sector, this space is no different.  Many encounter judgement and prejudices based on their looks, being a Mom, an educator or even their conducting style. Not to mention, the male gaze that glazes and lurks out of fear their positioning will be taken over and/or challenged by individuals they have never seen as equals.

One of the most resonate subjects is Mélisse Brunet, a french woman protégée of Pierre Boulez who was teaching at the University of Iowa and returned to Paris with memories of a traumatic past.  Witnessing whether or not this would fuel or hinder her chances to become victorious was a nail biting experience.  Yet, watching another woman being coached by her Dad and defiantly told she may not win due to the stiff and experienced competition was hardcore. While I understood his need to protect his child from being hurt, I couldn’t help but wonder why encouragement and positive reinforcement was so difficult in that situation.

Although Brunet did not win “La Maestra,” she won so much more.  Being able to rectify any past that inhibits one from being their best self is like finding a pot of gold at the end of the rainbow and she is now soaring as the newly appointed conductor for the New York Philharmonic Orchestra.

Beautifully shot on a shoestring budget during the pandemic, Contreras makes use of every nook and cranny in order for audiences to grasp the intimacy of its subjects with a nuanced precision point of view only a woman female could capture in all its glory. My heart was so full over the prospect that a whole new generation of young female musicians will be inspired to come out of the pit and into a spotlight once only reserved for men.  Watch out boys Maestras are coming for ya!