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.

[Marin Alsop’s] magnificent performance of “The Black Mask” was probably preceded by a meticulous analysis of the work. She conducted the opera with extraordinary clarity and awareness of the sonic effect that Penderecki enshrined in the masterful instrumentation of the work. She set in motion a purely sonic total theater, shocking especially in the last…

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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.

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.