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For Janna Hymes-Bianchi, inspiration came not in a flash of light or an auspicious dream. Instead, it was legendary composer Leonard Bernstein who fueled her desire to lead symphonies nearly a decade before she became associate conductor of the Indianapolis Symphony Orchestra.

She had enrolled in the illustrious Tanglewood Music Center in Massachusetts nine years ago, where she met Bernstein in a conducting seminar he hosted. The first day, he asked half the class to demonstrate their directing skills. When Hymes-Bianchi took the podium to conduct Brahmsí First Symphony, Bernstein realized he had found his star pupil. He ran to the podium, took her face in his hands and kissed her, then whispered in her ear, "Janna, youíre going to be a conductor. Itís going to be hard work, but you can do it."

Bernstein was right. As associate conductor of a major professional orchestra, Hymes-Bianchi certainly has lived up to his expectations ñ and her own. In the past decade she has carved out her niche in the world of classical music, establishing a reputation for her artistry with a wand and her rapport with orchestras and ensembles worldwide. Known for previous guest-conductor stints throughout the country, she also has earned international renown for her work with French, Mexican, Italian and Dutch ensembles; her ISO appointment was even publicized in a music magazine in England last October.

Bernstein also was right about another thing: The path to the podium has indeed been hard work, partly because Hymes-Bianchi counts herself among the few women in the nation to take up conducting as a career. The ISO, for one, hadnít employed a female conductor in its entire 68-year history before hiring Hymes-Bianchi last October, a status thatís hardly unique to major symphonies. "This is such an old profession, one thatís very traditional and therefore very male-dominant," says Hymes-Bianchi. "Thatís why we donít talk about women brain surgeons or lawyers or doctors anymore ñ but we still talk about women conductors and the challenges they face."

The Music Madam

The life of a conductor unquestionably presents its share of difficulties to men and women alike. Orchestras and ensembles must schedule concerts to accommodate audiences, so conductors face an erratic schedule with rehearsals by day and performances by night and on weekends. Add to that sporadic touring and meetings with various boards and committees, and suddenly squeezing in a personal life becomes as difficult as sight-reading Gershwinís Rhapsody in Blue the first week of piano lessons.

Amazingly, Hymes-Bianchi not only executes her professional duties with relative ease, but she also manages to orchestrate a full family life. The mother of two sons ñ Evan, 5, and Oliver, 1 ñ and wife of electronic music composer Fred Bianchi, she divides her time between her downtown apartment and the Hilbert Circle Theatre, a difficult task considering that the ISO works on a full 52-week schedule. "The fact that Iím able to do both is sort of surprising to me," she admits. "Technically, I shouldnít have much time left after adding up all my hours conducting ñ and I shouldnít have much energy left, either. But both are important to me, so I make them fit."

Such a duality can be difficult to achieve given the job demands, and Hymes-Bianchi says itís not surprising that more women ñ particularly those with children ñ havenít elected to step up to the podium. Yet itís also likely that a good percentage of candidates never make it past the audition. "Letís face it, some people have a concern with a woman leading the orchestra because it has always been such a male role and because they sometimes question a womanís level of commitment," she says. "And hiring a conductor involves a very subjective process: Sometimes theyíre looking for a man, sometimes theyíre looking for a woman, sometimes theyíre looking for an American. You canít ever really tell whether itís your skill or your physical appearance thatís the greater factor."

Hymes-Bianchi knows firsthand the struggles of breaking into the male-dominated field. Several years before coming to the ISO, she interviewed at one of the top five orchestras in the country. Though the musicians voted her their first choice, the board turned her away. Only later did a contact at the orchestra inform her that she didnít get the job because she was a woman. "That was the first time it was ever blatantly said to me," she says. "I remember going home after the audition and wondering what I could have done better. But there was nothing I could have done. I canít change who I am."

Yet at no point does bitterness creep into her voice. She remains refreshingly free of resentment, choosing to focus on her goals instead of her disappointments. In fact, she affirms that the very challenges associated with womanhood in her profession have actually helped elevate her talents. "If you heard a symphony conducted by a man and a woman, I doubt that youíd be able to tell the difference, but women have something of an advantage in bringing unique emotions to our art," she says. "Iíve had two children and Iíve gone through childbirth, so maybe thereís a certain tenderness that I can only feel because Iím a woman. Sometimes I think about my children when I hear or conduct music, and that heightens my identification with the music as a performer and as a woman."

A Born Performer

In truth, Hymes-Bianchiís relationship with music predates motherhood by a good 20-some years. As a young girl growing up on the third floor of a Manhattan high-rise, she got her first taste of performing at the age of 6, when her mother suggested she tag along with a neighbor girl to piano lessons. She took to the instrument almost immediately and within a year had surpassed her friend, who had been playing for two years.

Bitten by what she calls "the music bug," Hymes-Bianchi took up the flute in eighth grade so she could play in junior high ensembles. She also continued with piano lessons and earned a spot at New Yorkís prestigious High School of Music and Art for her skill on the keys. Then her first week of class, the music director assigned her the trumpet for the schoolís ensembles. Life in an apartment building wasnít exactly conducive to the brass instrument, though, so her mother promptly sent her back to school, trumpet in hand, to ask for a replacement.

She returned with the cello and enthusiastically joined the high school orchestra. That next year, she realized her true calling. When the groupís director was late to rehearsal one morning, Hymes-Bianchi jumped up on the podium and began to lead the group in Beethovenís First Symphony. "That was the single most amazing moment I have ever experienced," she says. "Iíd never once thought about actually conducting as a profession. But that day I thought how much freedom I felt and how magical it all was, and I realized that this was a great way to make music."

From that moment on, she directed her energies toward conducting. She enrolled in music at the University of Wisconsin at Madison, impatiently slogging through her freshman courses to get to the upper-level conducting classes. After graduation, she returned to the East briefly and took up private conducting lessons at Yale before entering University of Cincinnati College-Conservatory of Music on a full scholarship to earn her masterís degree in orchestral conducting.

Though she never questioned her decision to pursue a professional conducting career, Hymes-Bianchi admits that life as an aspiring artist proved difficult at times with constant practices, rehearsals and performances. Her status as a woman only compounded the pressure. "Itís not that there was any discrimination against women musicians ñ they just werenít given the same support as the male students," she says. "Also, so many of my friends worried more about getting married than developing their skills that there were times I felt I didnít quite fit."

Fortunately, her motherís artistic background provided the steadying force she needed. A full-time homemaker until Hymes-Bianchi entered eighth grade, her mother worked as the public relations director at American Ballet Theatre in New York to indulge her artistic side. Four years later, she landed a position as an associate producer on Broadway and worked with the Houston Grand Operaís Tony-winning production of Porgy & Bess. So when her daughter showed a talent for music, her mother wholeheartedly supported her career choice. In fact, Hymes-Bianchi still calls her regularly for professional advice or simply to vent her frustrations. "The majority of my artistic support came from my mother, and sheís the reason Iím able to have such an amazing career despite the odds," says Hymes-Bianchi. "She knew what it meant to be an artist, and she still understands that today."

Family Harmony

Using her mother as an example, Hymes-Bianchi encourages her own children to develop an appreciation for the arts. Though neither she nor her husband expect their sons to follow in their creative footsteps, Hymes-Bianchi says the householdís musical undertones already have captivated both the boys. Evan, now 5, voluntarily took up piano lessons a year and a half ago ñ and played the violin for two years before that. Both he and Oliver also enjoy listening to all types of music. "Itís very gratifying to share my passion with my family," Hymes-Bianchi says. "My music and my kids are my life, and itís wonderful to be able to have both."

Thatís not to say itís easy ñ and though music critics might argue otherwise, her wand really isnít magic. She employs a live-in nanny for the children to keep up with her hectic work schedule, particularly for help on days she dashes from rehearsals to meetings to concerts. But when sheís home, sheís home ñ and that means drawing the line between work and family. "When Iím with my family, I really focus on the boys because the rest of my life is so busy and stressful," she says. "But at the same time, I know Iím a better person for having a career that fulfills me. And because of that Iím a great mom ñ itís just not 24 hours a day."

Quality time with Bianchi also ranks as a priority, one that should be easier to achieve now that the couple finally lives under the same roof. A professor and the director of the Electronic Music Studio at Worchester Polytechnic Institute, Bianchi spent most of the past three years in Massachusetts, commuting to the familyís quarters in Charlotte, N.C., two weekends a month ñ at best.

In fact, the two have only truly lived together for two of the almost nine years theyíve been married. After their marriage in 1989, they bought a condo in Cincinnati: Bianchi taught at University of Cincinnati, and Hymes-Bianchi worked as music director of the Cincinnati Composersí Guild. Two months after they moved into the condo, she accepted the position of assistant conductor of the Canton Symphony ñ four hours away. Two years later she moved to Akron to assume the title of director of orchestras for the University of Akron, so the couple shuttled between cities for three years, scheduling dates around their professional engagements.

When Bianchi signed on to teach composing classes in Massachusetts, they moved East together and managed to set up a joint residence for a year before Hymes-Bianchi left for Charlotte to become the resident conductor of the Charlotte Symphony Orchestra. "Believe it or not, weíre still married after all that, and we still like each other," she jokes. "But weíre also very independent people. Sure, there are times I call and really need him. But if I needed him on a daily basis to get through my life, Iíd be in trouble. You have to be very strong in this profession, and we both understand the otherís need for artistic achievement."

They also understand the need for family unity, though, especially to provide a male role model for the boys. When Hymes-Bianchiís contract with Charlotte expired in June, Bianchi moved with the family to Indianapolis as a permanent resident; he plans to limit his teaching to Tuesdays through Thursdays.

Noteworthy Goals

For Hymes-Bianchi, the renewed family bond is the first of many goals she hopes to achieve during her time in Indianapolis. "I want my family to be together this year; I want that to be very solid," she says. "Itís been so touch and go as far as the time we can spend together, so I want to slow down and not be as urgent about life in general."

She also plans to get back in touch with herself, to foster a relationship with what she calls her "inner side." After all, whether dashing to a performance or sidestepping a toddler in the kitchen, Hymes-Bianchi rarely has the opportunity to relax and commune with herself. "I guess Iím in a period of personal training now, in many senses," she says. "Four years ago I was in a whole different period, learning how to conduct and working on all the external factors. This is a much more internal work, going down deeper into what I have to offer as a musician and a person. Thatís exciting for me."

And while no one would mistake Hymes-Bianchi for a native Hoosier ñ sheís betrayed by a slight East Coast accent and a matter-of-fact demeanor characteristic of New Yorkers ñ she seems to welcome the easier pace of the Midwest. Though technically a new resident to the city, she has spent a good portion of time since her October appointment establishing rapport with the ISO and directing several concerts in Indy. Based on positive initial impressions, she hopes to have her two-year contract extended at the end of next year, for personal as well as professional reasons. For one thing, working with everything from pops and classical concerts to educational programs in the community puts her one step closer to her ultimate goal of becoming music director of a major orchestra. For another, the city may well be the answer to personal fulfillment.

"Indianapolis is a wonderful place to work on my own goals because itís so down to earth and so real," she says. "If I lived in New York right now, I wouldnít be able to accomplish much because that city is so fast-paced and hurried, and Iíd always feel like I was behind. I have a lot to work on in my life, and this is the perfect place for me right now. Iím in no hurry to leave."