John Gennaro Devlin: Innovating Classical Music at the Wheeling Symphony Orchestra
John Gennaro Devlin
John Gennaro Devlin’s journey from a young clarinetist in New York to the music director of the Wheeling Symphony Orchestra exemplifies how a conductor can balance tradition with bold innovation. His career reflects a passion for connecting audiences with classical music in fresh, engaging ways—whether through unique concert formats, cross-disciplinary collaborations, or championing underrepresented voices.
Raised in Westchester, New York, Devlin’s early exposure to a diverse musical environment—ranging from classical music and Broadway to jazz—shaped his eclectic approach to programming. He studied conducting at the University of Maryland and apprenticed with notable conductors Christoph Eschenbach and Gianandrea Noseda at the National Symphony Orchestra in Washington, D.C. These experiences provided him with valuable insights into leadership and artistry, helping shape his philosophy as a conductor.
A pivotal moment in Devlin’s career came with the founding of the innovative Gourmet Symphony in Washington, D.C. The project was born from a desire to attract younger audiences in their 20s, 30s, and 40s to classical music. Recognizing the city’s burgeoning culinary scene, Gourmet Symphony combined fine dining, cocktails, and live classical performances to create immersive, multi-sensory experiences. “We paired food, music, and drink, broke down the fourth wall, and redesigned the concert format,” Devlin recalls. Musicians performed in the round, dining alongside the audience during intermissions, creating intimate, memorable interactions.
Though the Gourmet Symphony project has since concluded, its spirit lives on through Wheeling Symphony’s Sound Bites series. Devlin adapted the same philosophy of pairing music with culinary arts during the COVID-19 pandemic, where socially distanced concerts became a lifeline for the orchestra. “It worked beautifully,” Devlin says. “You could book a table with your pod, and we rapid-tested every person in the room—on stage and in the audience.” The popularity of these concerts has inspired the orchestra to reintroduce Sound Bites as an annual fundraising event in the coming season.
Beyond his creative programming, Devlin has made it a priority to spotlight underrepresented composers and overlooked histories. One of his most impactful projects was a concert with the Violins of Hope initiative, featuring instruments played by Holocaust survivors. Devlin programmed the world premiere of a piano concerto by Walter Bricht, a Jewish composer who fled Nazi Germany and whose work had never been performed. “We found the concerto in an archive in Munich, still in manuscript form,” Devlin explains. With the involvement of Bricht’s family and permission from the estate, the orchestra premiered the work, which will now be published and made available to other ensembles through Schirmer. The emotional depth of the concert was heightened by the recent events in Israel, making the performance a powerful space for reflection and connection.
Another highlight of this season is the orchestra’s collaboration with renowned mandolinist Chris Thile, whose 45-minute work Attention features prominently. Devlin’s decision to include this piece reflects his commitment to engaging with diverse musical traditions. “Chris Thile’s storytelling, his virtuosic playing, and his connection to bluegrass traditions resonate deeply with our audience in Wheeling,” Devlin shares. “We love programming works that tell stories and reflect the values of our region.”
The season will also pay tribute to Everett Lee, a pioneering conductor from Wheeling who broke racial barriers in American music. Devlin uncovered Lee’s story while researching for the orchestra’s 95th anniversary season. Lee was the first Black conductor to lead on Broadway and the first to conduct the New York Philharmonic and Metropolitan Opera. The orchestra will perform Bernstein’s Three Dance Episodes from On the Town, the musical in which Lee made his groundbreaking Broadway debut. “It’s important to tell these stories and reconnect them to the community,” Devlin says. “Wheeling might be a small city, but it has a rich musical history that deserves to be celebrated.”
Devlin’s work extends beyond the concert hall. His Festival of Ideas initiative brings together community partners for events that contextualize the orchestra’s performances through lectures, recitals, and discussions at libraries, synagogues, and schools. This approach ensures that each concert is not just a performance but a part of an ongoing conversation with the community. “When we align music with world events and local history, the impact is profound,” Devlin notes.
Looking ahead, Devlin is committed to continuing his mission of promoting American music and building meaningful connections with artists and audiences. His love for Broadway, which he describes as the “pinnacle of American storytelling,” influences his approach to programming. In Wheeling’s Pops series, he has invited celebrated Broadway performers, including Sutton Foster and Renée Elise Goldsberry, to share their artistry with audiences that might not have access to New York’s theater scene. “Broadway is our native opera format,” Devlin says. “It combines music, dance, design, and storytelling in a way that resonates deeply with people, and I want to bring that same level of excellence to the orchestral stage.”
Devlin’s vision for success extends beyond personal accolades. Now that he has secured a position with the Wheeling Symphony, he focuses on mentoring young musicians and collaborating with composers to create innovative programming. “I want to amplify the artistic dreams of those I work with,” he says. “The best idea might come from a composer, a young artist, or even a section player in the orchestra. My role is to make space for those ideas and help bring them to life.”
Through his creative leadership, deep community engagement, and commitment to innovation, John Gennaro Devlin is redefining what it means to be a conductor in the 21st century. With each project, he pushes the boundaries of what an orchestra can be, ensuring that classical music remains vibrant, relevant, and accessible to all.
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