Carmen Moral

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Career Highlights
  • Performances with 70 symphony orchestras in 25 countries
  • Recordings with the Pasdeloup Orchestra; National Symphony Orchestra of Buenos Aires, Argentina; Cuban Symphony Orchestra; and Opera-Live, Geneva
  • Publications include monthly music articles since 1977 for La Industria, Peru
  • Emeritus conductor of the National Symphony Orchestra of Peru
  • Former music director and conductor of the Bogotá Philharmonic Orchestra, Colombia; the National Symphony Orchestra of Peru; Das Erste Frauen Kammer-Orchester von Osterreich, Vienna; Istanbul Mimar Sinan University Symphony Orchestra
  • First conductor of the Istanbul State Opera and Ballet, Turkey
  • Associate conductor of the Long Island Youth Symphony
  • Extensive guest conducting in 25 countries
  • Grand Official of the Order of Merit for the city of Bogotá
  • Honorary Professor, National Conservatory of Music, Lima, Peru
  • Honorary Conductor, National Symphony Orchestra,  Lima, Peru
  • Doctor Honoris Causa, Unifé University, Lima, Peru
  • Recipient of the Medal of Honor of the Peruvian Culture
  • B.M., Manhattan School of Music
  • M.M., Manhattan School of Music
  • M.A., Columbia University Teachers College
  • M.M., Sorbonne University, Paris
  • Diplôme d’Etudes Approfondies en Musicologie, Sorbonne University, Paris
In Their Own Words

"I teach the basics of conducting—technique, style, and how to approach the work. Beyond that, I teach how to analyze a score. You have to de-compose the work in order to build it again, so that you can understand the different aspects of the composition."

"A good conductor must be able to transmit with body language. In order to transmit, you need technique. You have to convey your intentions not with long speeches, but mainly with your gestures. I conducted an orchestra in China, and I do not speak Chinese. But I can communicate what I want, musically."

"I've conducted more than 70 orchestras around the world. Of course you notice some differences. In Latin America and Eastern Europe, the orchestras are supported by the state, so they have more time to rehearse. I find the American and Western European orchestras, which are privately supported, must work faster. You prepare a concert faster with them."

"I have over 600 works in my repertoire, and I am at a moment in my life where I am able to transmit my experiences to students. I find Berklee to be the right environment to do so."