I may not have gone through the gates of Ellis Island but I am still an old fashioned Irish emigrant at heart, so it was a poignant experience for me to conduct The National Symphony of my adopted country in rehearsals at The Kennedy Center and in performance at Wolf Trap National Park for the Performing Arts.

The Hall of Nations at Kennedy Center reminded me that Washington DC was designed by the Forefathers with the express intention of intimidating foreign dignitaries. As I looked at the flags of the world's nations above me in this cavernous hall I naturally had to find my own green, white and gold.

The SOTG team outside The Hall of Nations at The Kenndy Center, Washington DC

Just after finding the tri-color on the ceiling I opened the backstage door to be confronted by a black and white photo of the Belfast tornado himself, the bold Jimmy Galway. I thought, maybe I'm not such a foreigner here afterall...

I was shown to the conductor's dressing room which was like a private gallery of photographs of some of music history's greatest maestros (maestri?). My favorite being one of Leonard Bernstein in full flight:

"Lenny"

Maestros Galore

Rehearsals with the NSO went extremely well and I got a chance to talk with principal harpist, the fabulous Dotian Levalier, whose extraordinarily sonorous playing was quite the musical and sonic experience.

We both agreed that comfortable trousers are a crucial pre-requisite for both of our jobs (thanks to composer Julia Newman my dear friend for those same trousers!) but aside from sartorial concerns, there was the worry of the inevitable heat and humidity at Wolf Trap breaking harp strings...

And I thought that only happens when I get near a harp; it's the musical equivalent of the smell of brimstone.

Rehearsals for the concert happend on the semi-outdoor stage at Wolf Trap and wow, Dotian was correct - someone had just thrown a few coals on Dante's Inferno and we were dripping in perspiration during rehearsals. The kindly and excellent staff at Wolf Trap did everything they could for us but the Virginian weather had other ideas.

Any, extreme of temperature is problematic for orchestral musicians. Wood, brass, nickel etc. react to heat and cold in ways that are difficult to control. I always see it as part of my responsibility as a conductor to help create a physical and emotional environment conducive to my colleagues doing their best work in comfort. It was clear to me that a lengthy rehearsal was not a good idea especially since the orchestra had worked so hard and performed exceptionally at The Kennedy Center rehearsal. The orchestra were absolute troopers at this, their summer home.

The performance at Wolf Trap was a great success. We had an audience just shy of 7,000 souls and as per usual Zelda fans treated the orchestra like rock-stars. Our concertmaster for the evening, Ricardo Cyncynates lent his stunning musicianship to the violin solos in the score. We've met some incredible concertmasters on our travels and I have to say, Ricardo was definitely one of my personal favorites.

Rehearsals with the NSO at Wolf Trap

This is why I referred to Wolf Trap as semi-outdoor:

My Heels on the podium at Wolf Trap!

You can read a review of the Wolf Trap show by Erica Laxson here.

Thanks to Emily Cary of the Washington Examiner for the article below.

You can view the original feature here.

Ireland's eclectic conductor tackles 'Zelda' at Wolf Trap

Eimear Noone grew up in the tiny village of Kilconnell, Galway, loving every musical genre. When she was not practicing classical passages on her flute, she was listening to pop, rock or the symphonic concert music of popular video games. It's no wonder the accomplished Irish conductor-composer has captured hearts of Nintendo fans as she conducts symphony orchestras performing "The Legend of Zelda" while graphics from the videos play on giant screens.

"It's a fun show," she promised. "Being an Irish immigrant, I'm very excited to conduct the National Symphony Orchestra that I've known about and admired for years. Like everyone in my generation, I've loved the music in this program since my childhood and am crazy about the arrangements. My background is in classical music, so I knew from the start that this is a symphonic score."

The music for "The Legend of Zelda" was created by Japanese composer Koji Kondo, who has contributed many Nintendo soundtracks. This year marks the 25th anniversary of the video that has sold nearly 70 million copies. Its primary character, Link, is a courageous lad, whose many adventures include saving Princess Zelda, named for F. Scott Fitzgerald's wife. He carries a baton called a Wind Waker to invoke powers of nature. To help him achieve his goals, the players must solve games and musical puzzles. The various instruments featured are important components that the players never forget.

"Video games became the soundtrack of young people's lives, but wherever I conduct this music, it's still amazing to me that some in the audience burst into tears," Noone said. "When the concertmaster comes out, he gets a huge round of applause, and this phenomenon happens each time a principal player takes a bow. It's like a rock concert filled with respect for the players. We made a special Wind Waker like the one Link uses, and every time we hold it up, there's a great roar from the audience."

Noone's passion for conducting and composing film scores led to an invitation to meet with the makers of World of Warcraft and record the score of "Starcraft" at Skywalker Ranch with members of the San Francisco Symphony Orchestra and the San Francisco Ballet. She now makes her home in Los Angeles, where she has scored or orchestrated a variety of films, including "The Hole," "The Donner Party," "The New Daughter" and "Mirrors."

Here Lewis Lipnick discusses the Contraforte:

After our first rehearsal together, I bumped into principal contrabassoonist - or should I say, principal contraforte bassoonist - Lewis Lipnick and got to talk to him about this astonishing instrument his brass playing colleagues call "the rocket launcher" (it would be the brass, wouldn't it...). The sound of the contra-forte is much more refined that the regular old contrabassoon with an extended range and high notes that sound somthing like a soprano sax. Lewis is the only musician in a professional US orchestra playing the contraforte and he also commissioned an exhilarating concerto for the instrument by Finnish composer Kalevi Aho.

I was so excited to learn about this instrument and the Aho Concerto as coincidentally I'd studied briefly with Aho at the Ennis IMRO Composition School when I was about 17! His work is exceptional and of course Lewis gave me a copy of the recording (and score; yeaay, geek-out) he made of the concerto for BIS.

Naturally I'd love any old excuse to perform it...

Here it is on ebay.

So I hit Comic Con with the Zelda Symphony team, my trusty assistant Miss Madz and SJB in tow. What a fantastic audience - I've never seen so many Links in one place at the same time, well not during the day-time anyway...

Rehearsals with San Diego Symphony went well - aside from a weather advisory that threatened to rain on our parade - so I felt good about the show before we started. I also got to meet and work with a very special choral group called Sacra/Profana under the superb direction of Krishan Oberoi. As well as working on standard repertoire, they had just shot a video for an arrangement of some Maroon 5's stuff. You can find out more about them here.

HEADS UP!: Mini javelin-like projectile coming your way: The occupational hazards of working in an orchestra with Eímear.

The concert begins and the overture is off to a rousing start. My music-stand isn't big enough for the tall Zelda score so stand lights had been mounted to a second music-stand in front of me. Not accustomed to said wall of music-stands, in the middle of the overture my baton hit the underside of one of the stand lights and well... it "caught some air" (SJB's a surfer so I'm generally bombarded with such "lofty" terminology) catapulting itself into the first violins, narrowly missing the associate concert-master - poor sod. The overture ends and there's the usual enthusiastic response from our beloved Zelda fans.

Before I turn to the audience an impishly smirking associate concert-master hands me back the baton with a grandiose flourish hidden from the audience by his desk-partner. Of course, not being one to keep any drama from our friends in the audience, I took the microphone and proclaimed it to be a great portent from the fates, or simply a sign of good luck, that the conductor throws the baton at the orchestra during the overture. Naturellement?!

Gotta love live performance...

Ooops, was that your head madam?!

Here are some images from rehearsals and performance by my precocious 12 1/2 year old assistant (the 1/2 is terribly important you know) and step-daughter Miss Madz: