True characters

JoAnn Falletta, Ulster Orchestra conductor

My first love was . . .the orchestra. I went to hear Beethoven's Symphony No 6 at Carnegie Hall when I was 11 and was blown away by the creative energy of the musicians. I thought, "I have to be in the middle of all that." It never occurred to me until much later that conducting was an unusual career choice for a woman. I've tried not to be aware of prejudice. Certainly I've noticed surprise, maybe even scepticism, but the world of orchestral music is more open than one might think, especially in the US.

My mentor is . . .Leonard Bernstein. He has been a great influence on my life. When I was doing my doctorate at Juilliard, he gave me and my peers tutorials. We were terrified – he had a reputation for not suffering fools gladly – but he was never anything but kind to us. Our paths have crossed many times since. He was the person who made me see that music is about people, communication and emotions. He never used words like "technique". He helped you to feel the music.

My best friend is . . .my husband, Robert Alemany. He's a systems analyst for IBM, but fortunately he can work remotely, so he travels a lot with me. He's also a part-time professional clarinettist, so he really understands my world.

I grew up in . . .New York City. My dad worked in the clothing trade, my mom was an accounts clerk. They were the children of Italian immigrants. Neither of them were musicians, but they were interested in music and wanted me and my sister to have a musical education.

Living out of a suitcase is . . .challenging, let's say. It's not always pleasant. But it's worth it for the stimulation of working with diverse orchestras. I learn so much when I conduct in different places. Currently I head up three orchestras – the Buffalo Philharmonic, the Virginia Symphony and the Ulster Orchestra – and do a lot of guest conducting internationally. I could be in Chile one week, Israel the next. I would go stale stuck in one place.

What I have learned is . . .the Haydns and the Beethovens are important, but so are the composers from your own neighbourhood. There's something very special about hearing a piece of music you intuitively understand, because it speaks to you in your vernacular.

My biggest kick is . . .discovering new talents, like Irish composers Ina Boyle and Joan Pringle. There are such riches out there we don't know about. Every new piece of music I learn changes the way I feel about all the music I already know, including the classics. It reveals music as a living thing, not a beautiful museum.

My favourite composers are . . .from the late 1800s and early 1900s. The world was changing so dramatically at that time – it was in turmoil. It was also the moment when orchestras were expanding and incorporating more woodwind and percussion. Composers like Debussy, Ravel, Schoenberg, Mahler and Sibelius reflected this heady sense of upheaval and possibility.

My guilty pleasures include . . .musicals. The songs of Broadway were a particular favourite of my father's, and it's so relaxing for me to enjoy music that I would never conduct. Gershwin, Rodgers, Porter, Sondheim – I love it.

When I'm not working I like to . . .cycle around my neighbourhood, go to the store – really ordinary activities. I have very little down time, but I don't feel hard-done-by, as I love what I do and it's a privilege.

Ulster Orchestra’s new season programme is at ulsterorchestra.com

In conversation with Una Bradley