NEW YORK ā Oksana Lyniv, Speranza Scappucci, Marin Alsop and Xian Zhang filled their lockers in the guest conductorsā dressing room off the Metropolitan Operaās orchestra pit. Just four women had led the orchestra from 1883 through 2016, but four took the baton in a landmark week from April 19-26.
āMaybe Iāll say it because theyāre probably a bit too shy to say,ā declared Alsop, at 67 the senior member of the group. āIt has to not be unusual for it to be part of the fabric. It takes a long time for society to get comfortable with different things, and our industry is very conservative.ā
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Lyniv led Pucciniās āTurandotā on April 19, and Scappucci conducted Pucciniās āLa Rondineā the following day. Alsop was in the pit for the Met premiere of John Adamsā āEl NiƱoā on April 23, and Zhang helmed Pucciniās āMadama Butterflyā on April 26.
"Itās like a different woman conductor arrived in New York simultaneously,ā Lyniv said. āNow I can say itās much easier to build a career than 20 years ago, 25 years ago, when I was a student and just started."
Even family had pushed Lyniv to reconsider her career pursuit.
āThere are no examples of successful female conductors,ā she recalled being told. āMaybe you will conduct maximum a school orchestra or church choirs.ā
When Susanna MƤlkki made her Met debut in 2016, she became just the fourth female conductor in the company's 133-year history after Sarah Caldwell, who debuted in 1976, Simone Young (1996) and Jane Glover (2013). The total has risen to 14 women, among them Keri-Lynn Wilson, wife of Met general manager Peter Gelb.
āThereās been a deliberate effort by major companies to create more opportunities for female conductors and I think it was overdue,ā Gelb said. āOpera is changing, and itās changing for the better by embracing a wider range of talents both on the stage and in the pit.ā
A specific event opened doors and put a spotlight on the lack of equity in hiring.
āBecause of MeToo,ā Alsop said of the social movement that began in 2017. āItās not as though everyone became enlightened suddenly. It had to get instigated. It had to catch fire. Itās no good to have one. You have to have a plethora.ā
Like many musicians of her generation, Alsop was inspired by Leonard Bernstein, the first American to lead a major U.S. symphony.
āI saw Bernstein conduct when I was 9. I was more impressed with him talking to us, the audience, when he turned around. I remember him jumping around a lot, and I thought that was very cool,ā Alsop said. āMy dad took me to the concert, and I said, `Oh, dad, I want to be the conductor.ā² He said, `Great.ā² Never changed my mind.ā
Scappucci, 51, was born in Rome and accompanied her older sister to piano lessons on the ground floor of their building with neighbor Maria Borzatti.
āAfter six months, the teacher called my mom and said, `Signora Scappucci, Gioia, sheās going to be great at languages," the conductor recalled, "but Iāve observed the little one. I think she has a very good ear for music, so Iād like to teach her instead.āā
Speranza studied piano at the Conservatorio di Musica Santa Cecilia and Juilliard, where she took a class in coaching singers. Valued for her Italian background, she was hired by U.S. companies as a coach. She became Riccardo Mutiās assistant to the Salzburg Festival, then moved into conducting and from 2017-22 was music director of the OpĆ©ra Royal de Wallonie.
Scappucci became the first Italian woman to conduct at Milanās Teatro alla Scala in 2022, and in 2025-26, she starts as principal guest conductor of London's Royal Opera. She is in her third season as co-presenter of the Italian TV show āLa gioia della musica (The joy of music)."
Lyniv, 46, was born in Ukraine to a family of musicians. She studied piano and flute. At 18, she had to conduct the student orchestra as part of the curriculum. A retired professor walked up to her.
āHe said to me: `You are not a Toscanini, but you have a great future,āā she recalled, a reference to conducting great Arturo Toscanini.
Lyniv finished third at the 2004 Gustav Mahler conducting competition. She attended the Dresden Academy of Music, became an assistant at Odessa's National Theatre in Odessa, then Kirill Petrenko's at the Bavarian State Opera. She was hired as chief conductor of the Graz Opera from 2017-20, and in 2021, became the first woman to conduct at Wagnerās Bayreuth Festival in Germany. In 2022, she took over as music director of Teatro Comunale di Bologna, the first woman to lead an Italian opera house.
Born in China, Zhang started playing piano at 3 but at 16 was told by a teacher that her hands were too small. She went to Beijingās Central Conservatory of Music and was invited by a teacher to step in to conduct Mozartās āLe Nozze di Figaroā at 19 with the China National Opera Orchestra. Two of her three conducting teachers back then were women.
āI was so naive. Because I saw them working so much, I never thought this is very unusual,ā Zhang said. āMuch later, I realized thatās not the case.ā
She attended the University of Cincinnati College ā Conservatory of Music, won the Maazel/Vilar International Conductorsā Competition in 2002 and was hired as the New York Philharmonicās assistant conductor and later associate. Zhang became music director of the Sioux City Symphony Orchestra from 2005-07 and the Orchestra Sinfonica di Milano Giuseppe Verdi from 2009-16 and has held the role with the New Jersey Symphony Orchestra since 2016.
Preparing the next generation, Lyniv founded the Youth Symphony Orchestra of Ukraine in 2016. Alsop in 2002 started a conducting fellowship that awards $25,000 and has assisted 36 women conductors.
āItās a good moment but I also am cognizant of whatās going on in the world around us and how womenās rights are taken away overnight, and that happens all the time,ā Alsop said. āSo, we have to really remain strong and vigilant about the future generations.ā