Q&A with Yiran Zhao ’23MM

Yiran Zhao ’23MM, a conductor, composer, pianist, and soprano vocalist, was recently named assistant conductor of the Boston Symphony Orchestra, beginning in the 2026–27 season. In this Q&A, she reflects on her transition from choral to orchestral conducting, shares what she’s most excited about in her new role at the BSO, and discusses how her artistic pursuits inform and enrich each other.   

You’ve had experience in both choral and orchestral conducting. How did that dual path unfold for you? What does each bring out in you musically? 
YZ: Growing up accompanying and singing in choirs, it feels very natural for me to stand in front of a choir. Working with singers — whether in a choral or operatic setting — is beautiful not only because of the art form itself, but also because the instrument is the human body. Singers express music through words that directly carry the narrative. It is also nostalgic and personal to me. I grew up singing in the Beijing Philharmonic Choir for ten years, so choral music reminds me of home. 

As a composer who writes both vocal and instrumental music, I have always loved symphonic repertoire. Working with orchestras brings out my side as a composer and pianist. I am especially fond of dense and emotionally intense music — Mahler, Shostakovich, and Strauss — that explores not only the beauty, but also the dark side of humanity. I also think Renaissance and Baroque repertoire can be incredibly expressive when done right. Here, I favor the tenderness of Purcell and Monteverdi, as well as the grandeur of Bach.  

When you started moving into the orchestral space, what did you find was easily transferable from your choral background? What did you have to totally rethink? 
YZ: The greatest challenge, as a conductor, is often how to address musical issues in a way that is both inspiring and respectful. You want to lead with authority so that musicians trust you, but you also want to acknowledge the expertise of the singers or players in front of you. My training as a choral conductor helped me develop that skill of communication in rehearsal. 

As a composer, I was fortunate to study orchestration early. There are interesting parallels between choral and orchestral sounds. For example, usage of vowels in choir translates to color in orchestra, and final consonants in choral singing become releases in orchestral playing. The terminology differs, but ultimately the goal is the same: to realize the composer’s intention and shape the right sound across the ensemble. 

How did your time at YSM shape your growth as a musician? How did it help you get ready for your career? 
YZ: For my master’s recital, I programmed Shostakovich's Chamber Symphony, Op. 110a. It was the first time I conducted instrumentalists outside of a choral setting, and that experience changed something in me. The recital took place during one of the most difficult periods of my life, and that piece gave me strength. I also included one of my own compositions on the program, which later won the American Prize in Composition. 

Yale made my dream recital come true. It gave me the opportunity to work with phenomenal musicians and the platform to program a story that I wanted to tell. After attending one of my Shostakovich rehearsals, [Principal Conductor Emeritus of Yale Schola Cantorum] David Hill encouraged me to seriously consider orchestral conducting. I also built close friendships with instrumentalists, composers, and conductors in the YSM, as well as with my dear colleagues in the ISM, who all supported me significantly both musically and personally. 
 
You’re starting your role as Assistant Conductor at BSO in the coming season. What are you most excited about there?  
YZ: I am especially excited to work with Maestro Andris Nelsons again. He was a mentor of mine at the Tanglewood Music Center last summer and has been a tremendous source of inspiration. I also look forward to getting to know the musicians in the BSO, and the guest artists they will bring in. 

In addition to conducting, you also sing, compose, and teach. How do these different practices inform one another?  
YZ: I began playing the piano at age four, which profoundly shaped the way I approach music. I study my conducting repertoire at the keyboard — reading full scores by myself or playing four-hand arrangements with a friend. I continue to compose regularly and receive commissions, which helps keep my musical thinking active and creative. Studying the repertoire I conduct is, in many ways, like receiving composition lessons from the greatest teachers.   

Singing, too, has influenced my approach to conducting, particularly in shaping and phrasing musical lines. Teaching music theory has further deepened my analytical understanding of the repertoire I study. Conducting, in many ways, is a form of teaching. It does not mean I am more knowledgeable than the orchestra, but it does mean I should come to rehearsal having done the deepest possible preparation and be able to communicate my musical ideas clearly.