Stephen Mulligan’s journey as a conductor is a testament to the blend of perseverance, artistry, and adaptability required to thrive in today’s classical music landscape. Born in Baltimore, Mulligan’s path has taken him through prestigious fellowships, leadership roles in major orchestras, and most recently, a freelancing career in Europe. His ability to embrace both tradition and innovation has allowed him to navigate the often unpredictable world of conducting, while his work as a composer reflects a deep commitment to artistic exploration.

Mulligan’s early musical experiences were shaped by his time as a Dudamel Fellow with the Los Angeles Philharmonic and staff conductor roles with the Atlanta Symphony Orchestra and Cincinnati Opera. These positions provided him with critical opportunities to refine his craft, but a defining breakthrough moment came during his first season with the Atlanta Symphony. Mid-concert, Robert Spano, the music director, became ill, and Mulligan was called upon to take over. “It was wild,” Mulligan recalls. “Robert just left and said, ‘Thank you and you’re welcome,’ and suddenly I was conducting the second half.” This impromptu debut with such a prestigious orchestra not only affirmed Mulligan’s confidence in his abilities but also set the stage for new professional opportunities.

Despite his early success, Mulligan describes himself as “flying under the radar” at the time, with no social media presence and little active self-promotion. Nonetheless, word of his capabilities spread, opening doors he hadn’t anticipated. “I was getting emails saying, ‘We’d like to invite you to this concert, and we understand your fee has changed,’” he recalls with amusement, noting that at the time, he didn’t even have a manager or a set fee.

Mulligan’s influences as a conductor are wide-ranging, but he credits Robert Spano as his most significant mentor. “He was my main conducting teacher,” Mulligan explains. More recently, Mulligan has been studying composition in Europe, which has significantly shaped his artistic vision. His teacher, Jörg Widmann, helped Mulligan rethink his creative process, emphasizing the importance of paradox and complexity in great art. “Widmann taught me that creativity comes from paradox, from having two elements that are working against each other,” Mulligan says. This approach has inspired his compositional work, pushing him to experiment with more complex and contradictory ideas in his pieces.

As both a conductor and composer, Mulligan has continued to embrace unconventional projects. One such example is his composition Haiku, written for contrabass player Begüm Aslan. The piece, which Mulligan describes as a “mad scene,” features the bass player singing at the top of her register and howling like a wolf—an unexpected request that Aslan not only accepted but performed brilliantly. “She gave a wonderful performance, and she’s even started pursuing singing more seriously,” Mulligan says, marveling at how such a daring concept came to life on stage. While the piece may be difficult to replicate by others due to its unique demands, it reflects Mulligan’s commitment to pushing artistic boundaries.

Mulligan’s future is full of exciting opportunities. He recently made his European conducting debut with the Philharmonica Transylvania in Romania and Ensemble Musikfabrik in Germany. These debuts are significant milestones as he continues to expand his presence on the international stage. Mulligan also remains involved with the New York Philharmonic as a cover and assistant conductor, a role that allows him to collaborate with world-renowned musicians and conductors. One of his most memorable experiences was jumping in to conduct a program featuring Chris Thile and Jacob Collier—two artists known for their genre-blending, innovative approaches to music. Mulligan’s ability to seamlessly transition between classical and contemporary works makes him a valuable asset in these dynamic settings.

As a composer, Mulligan is already working on his next project, a follow-up to Haiku for multi-percussionist David Mulliner. True to form, Mulligan plans to ask Mulliner to sing during the performance, further blending the boundaries between instrumental and vocal music. The piece will be premiered at the Elbphilharmonie in Hamburg, a venue known for its cutting-edge programming.

Despite his many accomplishments, Mulligan remains humble and media-shy, admitting that he’s still figuring out how to craft a clear narrative for himself as an artist. “I have a lot of different things going on,” he says, referencing his dual roles as a conductor and composer, and his transcontinental career. His main focus, however, is on ensuring his work remains artistically meaningful. “I’m constantly trying to dodge getting pigeonholed,” he notes, preferring instead to explore as many creative avenues as possible to continue growing as an artist.

Looking ahead, Mulligan’s ambitions are grand yet grounded in a deep understanding of the challenges that lie ahead. He dreams of writing and conducting his own opera—a goal he recognizes as “almost delusional” in the competitive world of classical music. But this lofty ambition is something he’s steadily working towards, piece by piece. “I’ve been going methodically, conducting some opera, writing vocal music, writing orchestral music,” he explains. Mulligan’s careful approach to developing his craft reflects both his patience and his determination to leave a lasting mark on the world of classical music.

For Stephen Mulligan, success is about longevity and enjoying the process. “I just want to stay in it somehow,” he says, acknowledging the difficulties of a career in music. But with his blend of creativity, leadership, and artistic integrity, Mulligan is well on his way to building a lasting legacy—whether through his conducting, his compositions, or perhaps one day, the opera he hopes to write.

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