Marin Alsop is the first woman to conduct the Last Night of the Proms. ‘I feel certain that Henry Wood would see this evening as a natural progression towards more inclusion in classical music,’ says the American in her speech.

The musician on ditching the Harry Potter books, her love of Mrs Doubtfire and why her first musical influences were the Beatles and Leonard Bernstein.

Alsop sparked an ecstatic, pealing Allegro finale to smilingly hit that point home. Ending a tumultuous Saturday with a glimmer of — gasp — optimism? I’ll take it.

The music director of the National Orchestral Institute + Festival led a program of Higdon and Beethoven, joined by the Heritage Signature Chorale.

(Image courtesy of Washington National Cathedral)

This programme, in the capable hands of Marin Alsop, makes strong cases for the pieces on offer, particularly the First Symphony which sports a Dutch hymn-like melody and confident, colourful orchestral writing.

Alsop and the ORF ensemble do these works absolute justice in these readings. Highly recommended.

Only four women conducted the Metropolitan Opera in its first 133 years ending in 2016, but now four women have taken the baton in a one-week span.

Alsop has had enviable success, and was the first female conductor to lead a top American orchestra. She wants to take another step up.

It was an evening of firsts. The trailblazing conductor Marin Alsop made her long overdue Met debut to much applause.

Alsop had Adams’ orchestrally virtuosic score locking into place at every turn.

Marin Alsop leads a performance full of humour and sparkle of the great Maestro’s operetta in Vienna.

On the heels of the new film “Maestro,” an American director will stage Leonard Bernstein’s often-reworked operetta in its “concert version.”

Marin Alsop is no stranger to Philadelphia, and now her role with the city’s orchestra will expand.

Handel with Hammond organ and hand claps. Scatting and swing. Five saxophones – this is Messiah, but not perhaps as you know it. Marin Alsop’s Gospel Messiah had its European premiere at the Royal Albert Hall on 7 December, ahead of a broadcast on BBC Radio 3.

The ease and delight with which [Alsop] managed to construct the climax — its soaring brass, racing strings, stuttering stops and scintillating finish — was a reminder of why Alsop is so beloved around these parts. Hail to the queen, indeed.

Marin Alsop speaks with Stephen Moss about leading the way for female conductors and where her career might lead next.

“Girls can’t do that,” Alsop recalls her violin teacher telling her at age nine, of becoming a conductor. “I’d never heard a phrase like that,” Alsop says.

In her years of cultural leadership, she’s been more than just an internationally renowned conduit for the intentions of history’s great composers and the sounds filling a concert hall. She’s also absorbed the hopes of young baton-holding aspirants and underserved musicians everywhere, nurturing their dreams and spreading them far and wide.

In conversation with Scott Simon on NPR’s Weekend Edition.

The first woman to lead a major American orchestra Marin Alsop talks about her tough road to the top of classical music and the new documentary about her life “The Conductor.”

CBS correspondent Mo Rocca talks with conductor Marin Alsop about Beethoven’s incredible triumph over terrible mental and physical suffering.

As Marin Alsop leaves the Baltimore Symphony after 14 years, the field is taking a step backward: 25 major American orchestras, no female music directors.

When Marin Alsop steps down at the end of August, concluding a Quite Literally Historic 14-year tenure as the first woman to lead the Baltimore Symphony.

In conversation with Michael Cooper, the classical music reporter for The New York Times.