Carolyn Watson’s journey from a small Australian town to becoming a trailblazing conductor in the United States is one filled with resilience, passion, and a desire to challenge norms in the world of classical music. Watson is a respected name in both American and Australian music circles, having taken up major roles such as the Music Director of the La Porte County Symphony Orchestra and conductor of the Interlochen Arts Academy Orchestra. Her upcoming debut at Tulsa Opera, conducting Peter Brook's The Tragedy of Carmen, marks yet another milestone in an impressive career that consistently defies expectations.

Raised in Wollongong, a town just south of Sydney, Watson began her musical journey with Suzuki violin at the age of five. Growing up, music played a central role in her life—youth orchestras, lessons, rehearsals, and international tours with the Australian Youth Orchestra all helped cement her passion. While she initially envisioned herself as a professional violinist, her path began to shift unexpectedly when she found herself leading orchestral ensembles as part of a temporary teaching position in Australia. “I had no intention of pursuing conducting,” Watson admits. “It was just a hobby.” But that hobby soon became a calling.

Watson’s first big break in conducting came at the Aspen Music Festival, which she describes as a turning point in her career. “Aspen made me realize that I wanted to pursue conducting as more than just an interest,” she says. Eventually, Watson set her sights on the United States, and after several years of hard work and perseverance, she made the move in 2013 to lead the Interlochen Arts Academy Orchestra. Her career has since flourished, with engagements across Europe, the United States, and Australia.

One of the most memorable highlights of Watson’s career came early on, in 2008, when she led the orchestra during the arrival of the Pope in Sydney for World Youth Day. This massive outdoor event took place in front of an audience of 100,000 people at Barangaroo on Sydney Harbour. “It was a phenomenal event—the buzz of walking to the venue and knowing you’re playing for such a large crowd,” Watson recalls. The logistical challenge of conducting with a click track for the first time was a major learning experience. “It was a very unusual experience, quite disconcerting, because I had a click but the orchestra didn’t,” she explains. The performance was a testament to her ability to adapt and lead under pressure, a skill that has remained a hallmark of her career.

Her European debut, conducting the North Czech Philharmonic in 2010, felt like another significant milestone. Watson considers it a moment of validation—a sign that her hard work and dedication were paving the way for her in the highly competitive world of conducting. And more recently, her first concert as the Music Director of the La Porte County Symphony Orchestra was a moment of profound connection. On that day, the city presented her with a proclamation announcing it as "Dr. Carolyn Watson Day," which she describes as a touching and beautiful gesture of welcome from the community. “To see the proclamation on the wall behind me is a constant reminder of how meaningful that moment was,” she says.

Watson’s upcoming project, conducting The Tragedy of Carmen with Tulsa Opera, marks an exciting new chapter. The piece is a reimagining of Bizet's famous opera by Peter Brook, and it focuses deeply on the character dynamics, condensed into a 90-minute chamber opera. "I'm looking forward to making my debut with Tulsa Opera and working on this innovative take on a classic," Watson shares. Beyond the music, she is eager to explore Oklahoma—a place she has only driven through previously—and indulge her love of discovering new restaurants and local culture.

More than just a conductor, Watson sees herself as a disruptor and advocate for change in the classical music world, particularly concerning gender equality on the podium. “Growing up, I was fortunate not to perceive barriers, but now, having lived what I have, I see the systemic issues clearly,” Watson says. She highlights the fact that, even today, representation at the highest levels of orchestral leadership remains abysmal, with only two women holding music director positions in the top 25 orchestras by budget size in the United States. “Our template of a successful leader is often male, especially on the podium, where we still have this image of the ‘maestro’—someone in tails, sweating, and with extreme temperament. Women just don’t fit that image, and so they’re often not considered capable of fulfilling that role,” she argues.

Her advocacy is informed by both her experiences and a growing commitment to social justice. Watson wants to see greater awareness of the unconscious biases that hinder women's advancement in the field. "Unconscious bias is very hard to address because, as the name suggests, it's unconscious. We need more awareness of the double standards through which we judge women," she emphasizes. She recently watched the documentary Maestra, which highlights the La Maestra competition for women conductors in Paris and the startling statistic that only 3% of conductors at elite orchestras worldwide are women. “We still have a lot of work to do,” Watson says, underscoring her determination to contribute to meaningful change.

When it comes to her legacy, Watson hopes to be remembered as someone who questioned the status quo and sought to create a better, more equitable future for the classical music world. “I want to be thought of as a change maker—someone who advocated for equality, fairness, and who really tried to make the world a better place,” she says.

In addition to her musical pursuits, Watson is an enthusiastic traveler and a self-proclaimed "crazy bargain hunter," particularly when it comes to finding cheap travel deals. If she weren’t a musician, she says she would probably be a travel writer and photographer—a career that would combine her love for travel, photography, and food.

Watson’s story is one of resilience, passion, and unwavering commitment to both music and social justice. Whether she’s preparing for a new opera debut, advocating for gender equality, or inspiring young musicians at the Interlochen Arts Academy, Watson embodies what it means to be a true leader—one who is constantly evolving and pushing the boundaries of what’s possible on the podium. With her spirit of curiosity and determination, she continues to pave the way for future generations of conductors, setting a powerful example of what it means to lead with both heart and vision.

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