The first woman to conduct a major American symphony orchestra was appointed just this past summer, amidst much controversy and despite her obvious talent and qualifications. Marin Alsop won't even begin as musical director of the Baltimore Symphony Orchestra until the 2007-2008 season, but questions have been raised about her chemistry with the musicians and the relative brevity of the search process, and the orchestra’s CEO and president resigned in January.

Only one other woman has reached the upper echelon: JoAnn Faletta, who conducts the Buffalo Philharmonic. Lemon estimates there are roughly 20 to 25 women who are professional conductors for regional orchestras, which have much smaller operating budgets and less prestige. “It's very hard for boards of directors to imagine a woman in a position of power like that,” she explains.

Born and raised in Berkeley, California, Lemon currently lives in Oakland with soprano Christine Brandes, her partner of ten years. After earning a bachelor's degree in music from U.C. Berkeley Lemon won a departmental prize to study conducting in Freiburg, Germany, where she earned her master's degree.

Although she began studying violin and piano at age 6, her primary instrument is bass. At 14 she had a growth spurt that made her hands too big for violin, and that physical trait—along with the fact that she had a crush on a boy who played bass—is why she eagerly volunteered when her junior high orchestra needed another bass. “I dumped the guy but I really fell in love with the instrument,” she says.

Lemon was accepted into the premiere Open Symphony Youth Orchestra around that time and became interested in conducting, beginning tutorials soon thereafter. She continued gigging as a bassist until she was nearly 30, at which point she decided to devote all of her time and energy to conducting.

It's certainly an occupation that requires single-minded commitment. On the musical end it involves analysis, score study, harmony, and learning the repertoire of major composers. In addition, Lemon explains, “you have to develop a physical language that's expressive but still clear—that keeps the beat but also shows a player how to enter, with what quality and character of sound to play.”

“Any fool can stand up on a podium and look beautiful and have beautiful gestures, but to actually be able to listen to what's going on and to process that sound—that takes experience, chops, having made a lot of mistakes, and having really generous musicians around you who will tolerate you doing that,“ she continues.

Lemon points out a mystique that surrounds her field: “So many conductors won't cop to the fact that there was a really steep learning curve for them.” Some people are naturals, but even the highly gifted must work hard to develop their talent.

Studying has to be a huge priority for conductors, who must walk into rehearsal with confidence and a sense of being able to communicate what it is they wish to communicate. “If you stand up on a podium and transmit anything other than that, you're dead, because the players will pick up on it and you'll lose them,” she says.

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