The Art of Musical Expression (Page 3)

It's very clear that Stubley doesn't mind making waves -- small or large -- whether on stage, on paper, or in university corridors. Her innovative approach is appreciated by her students, says Rebecca Foon, BA'00. When she met Stubley, Foon finally found an advisor willing to go off campus to supervise an independent music and art performance project.

"She was incredibly encouraging and brought all sorts of academic ideas and symbolism into context. What I really respect is that she's creative and brings that into the classroom, freeing up students for new discoveries and growth."

As for her repertoire, Stubley characterizes it as an "unusual mix. I focus on early music and contemporary music, with a special interest in the works of Canadian composers." It's a blend which, she says, "reminds me of the way in which we are all connected." She adds that she alters things slightly when working with young audiences. "I focus on opera and contemporary music, though I also do traditional classical pieces."

If Stubley's preferred music is a study in contrast, her directing style also presents something of a paradox: exacting and relentless in her commitment to the perfect sound, she allows soloists and students the opportunity to interpret the music and extemporize.

Her colleague, saxophone player and teacher Peter Freeman, says that Stubley achieves this balance with "tough love." He's had first-hand experience, working under her as a musician and as a music teacher. "I've done a couple of soprano saxophone solos when she conducted. What a great experience -- she gave me complete freedom to improvise." Yes, she's very demanding, he allows, but whether she's directing professionals, music students or amateurs, "she never lets them lose their love of music, and love of making music."

The iconoclastic conductor, who favours unusual and original music which she chooses "after staring at the ceiling for hours," is hardly immune to the effect she has on others. "The expression on people's faces when they've heard something they've never heard before is what drives me," she says, agreeing that she can also be an incorrigible romantic. She says she just loves to invite people into the world of music, even if she has to do it in unorthodox ways -- through fairy tales, slide shows or by providing a dramatic, whispered narrative.

"I know when the audience is in the palm of my hand -- there's a tension in the air. I've had 600 pre-teens sit in a hall with their attention grabbed by La Bohème. When Mimi and Rodolfo fall in love, the kids are just enraptured," says Stubley dreamily.

When asked how she is able to make music so compelling despite shyness and the limits of her disease, Stubley has a quick answer. "It boils down to passion and the integrity of what you have to say. Conducting is the best solution to keeping my body and psyche coordinated. I move into a totally different space when I conduct. Any deficits simply disappear."

Susan Pinker is a freelance journalist living in Montreal.