How would you describe Evansville’s character?
It’s definitely in the audience’s response — very passionate, very engaged audiences. It comes out a lot in the Peppermint Pops concerts because we’ve engaged so many different organizations, and it helps bring in an audience, too. Parents come, their friends come.
How do you orchestrate programming that pleases a diverse audience?
It’s the variety of offerings. We’re not going to do a main stage classical show of just Mozart, Beethoven. We’re going to create a fusion of styles. So, we’re going to bring film music or the ’80s concert. Even on our classics programs, sometimes we mix in a little bit of jazz.
Describe a time while conducting in Evansville that blew you away.
I have two answers. One was when we did the Musician’s Choice concert. Graham Cullen, our principal cellist, lives in Haynie’s Corner Arts District, and he brought his friends, the neighborhood, over 150 people! I still remember their applause was so lively. That concert also had a symphony tailgate. We closed off Main Street and served chili like at a football tailgate. So many people learned about the EP in a relaxed environment. It was cold, though — it was January! The other was Demetrius Sampson Jr. When he performed “Nessun Dorma” (in 2024), the audience started applauding before he even finished the aria. They were so engaged. Then he got a two-minute standing ovation.
What is your dream concert to direct?
I’m a big fan of Radiohead. I think their music is meant for orchestras. And Metallica performed with the San Francisco Symphony, so I think it’s possible! Another one … I’m a big jazz guy. Wynton Marsalis has a piece called “Swing Symphony,” and it features the Lincoln Center Jazz band. I think that’d be a lot of fun: Bring them in from New York, get them playing with our orchestra. I think it’d be fascinating. It’s something different from just doing another Beethoven symphony — I love my Beethoven! But we could do that.
What’s one of your most rewarding experiences with the Evansville Philharmonic?
“Star Wars,” to close out the season. That was probably at the top of the list. We made history — we sold out the Victory Theatre. I love the fact that people brought lightsabers. They were dressed up. And after the concert, I got to sign autographs! I had to receive approval to conduct a film score by John Williams. I sent videos of my conducting resume. They wanted me to observe a conductor in person: There’s a whole click track, there are streamers. If the orchestra is even a few clicks off — God forbid the explosion doesn’t line up with the music! So I flew to Breckenridge, Colorado … and now I could do it anywhere in the world.
You also conduct orchestras in Terre Haute, Indiana, and Santa Monica, California. Of the three cities, why did Evansville become your home base?
The practical answer was that this is the largest of the three orchestras I conduct. We have the busiest season, our operating budget is the largest of the three. With Terre Haute, I decided I can’t travel, especially with this little guy. (Evansville is) the most affordable, welcoming place to be. I love the vibe here. My parents are here. (Christine’s) parents are moving here. It just makes perfect sense.
Batons and Beats
Roger Kalia confirms: The baton chooses you. His favorite, made by Newland, has a handle of East Indian rosewood and is weighted with a graphite shaft. “Musicians, I think, expect the baton. It’s easier for them to see,” he says, noting that he forgoes a baton for smaller performances in relaxed settings. Kalia’s collection hovers around 20 — “Too many!” Christine Wisch jests — but mid-performance mishaps have taught him the value of backup batons. Once, “it hit the stand, and it split in half. I ended up having to conduct with my hands. Another time, it hit the lapel of my jacket, completely split in half, and actually hit my face and left a little mark. But I had a backup, so I kept going,” he laughs, adding, “The cellos got a kick out of it.”
