Conducting Workshop

Conductor Carl Topilow, author of The Orchestral Conductor’s Career Handbook, will be hosting a conducting workshop on May 29, 30, 31, and June 1, 2024 in Cleveland.  Each of the 14 participants will receive 40 minutes of podium time with full orchestra, plus 20 minutes with a string quintet. 

One participant will be selected to perform a selection for the Cleveland Pops subscription concert on June 1. 

All sessions will be held at the Cleveland Pops offices in Beachwood, OH, a suburb of Cleveland. Participants will be conducting members of the Cleveland Pops Orchestra, a professional union orchestra performing at Severance Music Center and throughout Northeast Ohio. There are ample hotel choices within a 15-to-20-minute walk or 5 minutes by car to the office.

Included in the workshop are conducting sessions on rehearsing, accompanying, and opera recitatives.   Seminars will be held on efficient rehearsals, string techniques, the conductor’s role in auditions for prospective orchestra members, and applying for jobs, including mock interviews.

Participants are encouraged to record each of their conducting sessions for their personal archives.

Tuition is $1250; there is no application fee.

  • January 26, 2024 – applications are accepted

  • April 22, 2024 - deadline for applications

  • April 30, 2024 - final notification of acceptance

  • May 10, 2024 – a $500 non-refundable hold deposit due

  • May 20, 2024 – balance of full payment due

To apply, send a resume and two contrasting videos of your conducting to carl@clevelandpops.com. As applicants may be accepted on a rolling basis, meaning that applicants may be accepted before the application deadline, early application is encouraged.

Here are comments from participants in Carl’s workshop this past May.

  • Generous podium time, enriching conversations, delightful camaraderie, and supportive feedback made for a very stimulating experience.

    Michael Moore, January 2024 Workshop Attendee

  • I liked the rehearsal workshop a lot; it really highlighted how rehearsal and performance conducting are separate skills. Watching you demonstrate something and get a really different sound showed the importance of the relationship between conductor and players.

    Elias Gilbert, January 2024 Workshop Attendee

  • Your insight both into the music and the business side of things were very valuable and it was a thrill to work with you.

    Aaron Kaplan, January 2024 Workshop Attendee

  • Mr. Topilow’s teaching is honest, inspiring, and considerate. The seminars were informative, and the musicians played at a high level and gave helpful feedback.

    Yichen Liang, January 2024 Workshop Attendee

  • Carl’s comments were both thoughtful and practical are to the profession. I loved the interaction between student and teacher and found his guidance so helpful to what we want to accomplish in the field.

    Matthew Makeever, January 2024 Workshop Attendee

  • There was so much positive energy from Carl, the orchestra musicians, and the participating conductors - it was infectious, in a good way!

    Jerri Jorgensen, January 2024 Workshop Attendee

  • WOW!!!! This is one of the first workshops I have been to where the musicians were so supportive and engaged throughout. The atmosphere really let me as a participant feel like I was in a space where I could explore the repertoire and receive helpful feedback from both Carl and the musicians.

    Vaughn Richardson, January 2024 Workshop Attendee

Seminar Schedule

Wednesday, May 29

  • 1:00 p.m. Check- in.

  • 1:15 p.m. Participants introduce themselves: background, musical philosophy, statement of purpose

Conducting Session #1 - 2:30 - 5:30 p.m. | Conducting session with string quintet. Select two movements or the Walker from the following:

  • Holst - St. Paul Suite

  • Warlock – Capriol Suite

  • George Walker – Lyric for Strings

Conducting Session #2 - 7:00-10:00 p.m. | Conducting session with full orchestra. Select two contrasting movements:

  • Beethoven - Symphony #1

Thursday, May 30

Conducting Session #3 - 9:00 a.m. - Noon | Conducting session with full orchestra. Select a single piece from the following:

  • Wagner - Siegfried Idyll

  • Verdi - Prelude to Act 1 from La Traviata

  • Mendelssohn - Symphony #5, “Reformation” third movement

Conducting Session #4 - 1:30 - 4:30 p.m. | Conducting session with full orchestra. Accompanying - choose one:

  • Faure – Elegy for Cello and Orchestra

  • St. Saens – Violin Concerto #3, second movement

  • Wieniawski - Violin Concerto #2, second movement

  • St. Saens – Introduction and Rondo Capriccioso

Discussion Session #1 - 4:45 - 5:15 p.m. | Auditioning musicians to play in your orchestra.

Cleveland Pops Rehearsal Observation - 7:30 - 10:00 p.m.

Friday, May 31

Conducting Session #5 - 9:00 a.m. - Noon | Conducting session with full orchestra. Opera recitatives - select one:

Participants have the option to conduct repertoire from Conducting Session #1 if they choose, instead of the opera recitatives.

  • From the finale of Act I of The Magic Flute Starting with Die Weisheitslehre dieser Knaben until Adagio (entrance of the Priest)

  • From #11, Cosi’ fan tutte The recitative before the aria: Ah, scostati

  • From #14, Cosi’ fan tutte The recitative before the aria: Temerari

Discussion Session #2 - 1:30 - 2:30 p.m. | Rehearsal strategies; string techniques

Discussion Session #3 - 2:45 - 3:45 p.m. | Winning a job and keeping it.

Conducting Session #6 - 1:00-4:00 p.m. | Conducting session with full orchestra.

Rehearsal workshop - select two movements:

  • Mendelssohn – Six Pieces for Piano, transcribed for orchestra by Carl Topilow (we will supply scores)

  • Tchaikovsky – Album for the Young, arranged for strings, choose 2 movements (we will supply scores)

Saturday, June 1

Cleveland Pops Rehearsal Observation - 4:00 - 6:00 p.m.

Cleveland Pops Concert - 8:00 p.m. | Free admission and post-concert reception for participants.

Former Student Testimonials

“I can definitely say that our time together and your teaching on efficient rehearsing made all the difference!”

— Gaddiel Dombrowner

Recent winner of the Kussewitzky Conducting Competition in Grosseto, Italy; winner of the 3rd Turchak Conducting Competition 3rd prize winner of the Blue Danube Opera Conducting

“I have absorbed more than I can possibly measure about conducting and the orchestral world from Carl Topilow going back to my years as his Assistant Conductor with the National Repertory Orchestra. From intricate details in orchestral scores to his invaluable and practical advice on presenting Pops concerts, I have had the privilege of learning from Carl for decades – and hope to continue to do so through his new book!”

— Alfred Savia

Artistic Advisor & Principal Conductor, Indianapolis Opera; Conductor Laureate, Evansville Philharmonic Orchestra

“My time spent learning to be an orchestral conductor with Carl was incredibly meaningful and helpful. From Carl I learned how to run an efficient rehearsal (a MUST for an assistant conductor especially), how to successfully engage my colleagues and get their best from them, and how to really dive deep into a score and arrive at a convincing interpretation through preparation and decision-making. He has continued to be a lifelong mentor for me, and I am extremely grateful for all his guidance and insight throughout my career.”

— Chelsea Tipton

Music Director and Conductor, Symphony of Southeast Texas; Pops Conductor, New Haven Symphony

“Carl Topilow has at the same time the detailed, refined expertise of a Swiss watch craftsman and the energy of a master. His infinite curiosity brought him to have a technical knowledge of every instrument and repertoire (from pops to crossover, from opera (I'm Italian and every now and then he'd quote for me lines from Italian operas) - to symphony. His efficiency in rehearsing is exemplary: going straight to the core of the problem with few incisive words and fixing it. Then his performance energy is at the same time strong and calm: he has a certain way of making people feel at ease that playing for him becomes easy: yet you're doing exactly what he wants!

On a personal side, his curiosity and generosity are outstanding: he considered me family from day 1 (of course speaking Italian to me - he speaks a number of foreign languages easily and wouldn't miss a chance to use them!) and was glad to spend hours with me, making sure I was prepared to do my best for my concerts and duties. And the best part is that it's a "life subscription": once you've studied or worked with him, you can always go back to ask suggestions, ideas and projects and with his fine humor, he'll be there with answers and advice. I'm very grateful to have had the chance to be his assistant at NRO and to have stayed in touch since, I owe him a lot!”

— Stefano Sarzani

Staff and Conducting Assistant, Lyric Opera of Chicago; Frequent opera guest conductor

“I am grateful that Carl understands the value of experiential learning. There is no substitute for standing on the podium and experiencing the incredible organism that is an orchestra and being allowed to experiment — sometimes more successfully than others. I am profoundly grateful for the numerous opportunities Carl presented to me during my years as Assistant Conductor of the NRO, and for the wisdom and perspective he offered during that time.”

— Mark Russell Smith

Music director and Conductor, Quad Cities Symphony; Conductor and Director of the Orchestral Program, University of Minnesota

“Here’s a book I wish had been available when I was starting out as a conductor. If you want to shave about 10 years off your learning curve, make this book your professional go-to guide. I worked under Carl at the beginning of my career and have continued to cherish our friendship through the present day. He is the real deal: a conductor who understands deep down what it takes to be successful. Just look at his career, and you’ll see the proof right there. Do yourself a favor and invest in The Conductor’s Journey – A Guide for the Young and Emerging Conductor. I know I already have!”

— Paul Haas

Music Director and Conductor, Symphony of Northwest Arkansas Music Director and Conductor, and the Thunder Bay Symphony Orchestra

“I was always impressed with Carl’s practical knowledge of and experience with the repertoire, to the point where he could accurately predict what would happen in a particular spot. ‘The horn will be sharp in this chord, the violas will rush in these measures, this tempo change will be tough because…’ as examples. Many of those predictions have been borne out in my own experience!”

— Steven Smith

Music Director and Conductor, Richmond Symphony; Former Assistant Conductor, Cleveland Orchestra

CIM Masters in Orchestral Conducting

Here are just a few of the students with whom I have worked:

  • Mélisse Brunet

    Conductor, Northeastern Pennsylvania Orchestra and Lexington Philharmonic Orchestra; Director of Orchestral Activities at University of Iowa

  • Major Dwayne Milburn

    Faculty, UCLA; former Conductor and Arranger, Continental Army Band (Fort Monroe, Virginia,) The U.S. Army Band “Pershing’s Own” (Washington, DC), and the U.S. Army Europe Band and Chorus (Heidelberg, Germany)

  • Jason Seber

    Former Education Conductor, Louisville Orchestra; former Associate Conductor, Kansas City Symphony, frequent guest conductor

  • Steven Smith

    Conductor, Richmond Symphony (VA); former Assistant Conductor, Cleveland Orchestra, former Conductor, Santa Fe Symphony

  • Deanna Tham

    Currently Assistant Conductor, Oregon Symphony; former Conductor, Boise Youth Orchestra; Louisville Youth Orchestra, Assistant Conductor, Jacksonville Symphony, Omaha Symphony

  • Robert Tuohy

    Conductor, Limoges Symphony and Opera (France); former Assistant Conductor, Montpelier Symphony (France)

NRO Assistant Conductors

  • Robert Franz

    Former conductor Boise Philharmonic, resident conductor, Houston Symphony, conductor, Windsor Symphony

  • Nicholas Hersh

    Former associate conductor, Baltimore Symphony, frequent guest conductor

  • Stilian Kirov

    Conductor of the Illinois Philharmonic and the Bakersfield Symphony; former Associate Conductor, Seattle Symphony and Memphis Symphony

  • Jose-Luis Novo

    Conductor, Annapolis Symphony, frequent guest conductor

  • Mark Russell Smith

    Conductor, University of Minnesota, Quad Cities Symphony

  • Chelsea Tipton

    Conductor Beaumont, TX; pops conductor, New Haven Symphony, former Assistant Conductor, Toledo Symphony