“WHAT’S UP, MAESTRO?” LEADING THE HOLLYWOOD BOWL ORCHESTRA
James Fellenbaum, associate professor and director of orchestras at the Natalie L. Haslam College of Music, was invited this summer to conduct at the Hollywood Bowl for Bugs Bunny at the Symphony. The Hollywood Bowl is one of the most iconic and prestigious outdoor music venues in the world, known for hosting legendary performers such as The Beatles, Ella Fitzgerald, and John Williams. Performing there is considered a major milestone for any conductor, and the Bugs Bunny at the Symphony series, which blends live orchestral music with classic Warner Bros. cartoons, draws large, enthusiastic audiences of all ages.
The production, created by George Daugherty and David Ka Lik Wong, was fi rst presented in 1990. The show marked its 35th anniversary in 2025; the same year Bugs Bunny celebrated his 85th birthday. Fellenbaum became a regular guest conductor with the production in 2023 and was named its principal guest conductor in 2025.
“As most people know, or maybe they don’t realize, their exposure to classical music probably first occurred when they watched Bugs Bunny cartoons,” Fellenbaum said. “Retrospectively, I realized a lot of my early musical influences included hearing this music being played through these great cartoons. So subconsciously, this show has always been with me throughout my life.”
Standing on the Bowl stage was unforgettable, Fellenbaum said.
“Being on that stage, which is half the length of a football field, wow,” Fellenbaum said. “That stage appears in four or five of the cartoons that are part of this show. Personally, and professionally, it was an honor to be on that stage where so many famous people have conducted. It was really thrilling.”
Coordinating live music with fast-paced animation requires careful timing. The orchestra followed a click track while watching cues on screen, a method used in most film-with-orchestra concerts.
“The film is an inflexible object. The orchestra, adaptable musicians, is a flexible object,” Fellenbaum said. “Especially with the Wile E. Coyote cartoons, the music is so fast and so zany that you must have the orchestra precisely on time. My responsibility as the conductor is to coordinate all that and make sure the orchestra is playing exactly with the click.”
“When I teach conducting, the word I continually come back to is communication,” Fellenbaum said. “The person on the podium is communicating to the ensemble, so the ensemble can communicate to the audience. I am the composer’s advocate. If the composer writes something, I need to communicate that to the ensemble. Communication is everything.”
In addition to his work with Bugs Bunny at the Symphony, Fellenbaum regularly conducts fi lm-withorchestra productions such as The Wizard of Oz, Casablanca, Raiders of the Lost Ark, Home Alone, and Mary Poppins. He also serves as resident conductor of the Knoxville Symphony Orchestra and is in his eighth season as music director of the Brevard Philharmonic in North Carolina. At UT, he oversees the Orchestra Program, and, under his leadership, the UT Symphony Orchestra won The American Prize in orchestral performance in 2023.
For UT students, Fellenbaum’s time at the Hollywood Bowl is both an achievement to celebrate, and a reminder of the unexpected directions a music career can take. “Conducting is what I love to do, and being part of this show is really exciting and fun,” Fellenbaum said. “Professionally it was fulfilling, and personally it was a truly a thrill.”
BRINGING CARMEN TO LIFE IN KNOXVILLE
Renée Tatum, acclaimed mezzo-soprano and faculty member at the Natalie L. Haslam College of Music, took center stage in Knoxville Opera’s 2025–26 season opener, performing the title role in Bizet’s Carmen in October 2025. The production marked a major milestone in Tatum’s already distinguished career.
“It is an incredible honor for Knoxville Opera to have such faith in my ability to lead the production this fall,” Tatum said. “I have always wanted to sing the role of Carmen, and for a variety of reasons, it hadn’t come across my season until now. I’m grateful for the opportunity to perform such an iconic role.”
Known for her rich, expressive voice and commanding stage presence, Tatum brings a deep level of preparation and nuance to every role. For Carmen, she said the process was especially demanding.
“There is never enough time to prepare for such demands. You do your best and hope that you can commit to the drama and theatricality of the production without sacrificing your technique and proper vocal approach,” Tatum said. “The marriage of voice and theater, both in service to a fully committed performance, is the goal. This delicate balance comes from plenty of rehearsals.”
As one of opera’s most complex heroines, Carmen requires not just vocal prowess but dramatic insight. Tatum said she identified with the character’s confidence, while also acknowledging her flaws.
“She is such a confident, self-assured yet complex woman. I find the way she carries herself very appealing and resonates with the confidence I try to find each day,” she said. “I find her lack of emotional maturity somewhat frustrating, yet I am sure I was similar when I was a bit younger. I like having the perspective of the role now as a mother, wife, and professional. I can approach the character in a much more well-rounded way.”
For Knoxville audiences, Tatum hoped the performance reflected the strength of the region’s operatic community.
“Opera in Knoxville is thriving, and Knoxville Opera is securing an incredibly high level of talent for their opera season,” Tatum said. “I am so excited to see where this administration continues to take this special company, and respect how deeply they value their artists. I look forward to reaching more of our community and sharing the gospel of opera.”
Importantly, Tatum’s role in Carmen also served as a powerful bridge between the University of Tennessee and the broader Knoxville arts scene. As a faculty member performing on one of the city’s largest professional stages, she was not only raising the profile of the university but also creating pathways for her students to connect with the region’s vibrant cultural life.
Tatum believes her own artistic activity is central to her teaching and mentorship.
“Gently pushing the boundaries of what my students think they are capable of helps them become much better prepared as they enter the post-academic world,” Tatum said. “I am more easily able to inspire others when I am inspired.”
Beyond Carmen, Tatum’s 2025–26 season includes performances with major orchestras across the country. She returns to the Dallas Symphony as the alto soloist in Mahler’s Eighth Symphony under Maestro Fabio Luisi, one of several Mahler performances on her schedule.
“I’ve sung under Maestro Luisi at the Metropolitan Opera in Wagner’s Der Ring des Nibelungen, as well as the Dallas Symphony just this past season. He is one of the best conductors in the world,” she said.
To learn more about Tatum’s season, visit reneetatum.com.
PASSING THE BATON
This past summer, the Tennessee Wind Symphony (TWS) appointed Professor John Zastoupil as its conductor, expanding his leadership within Tennessee’s vibrant wind band community.
“It’s a profound honor to serve as the sixth conductor of East Tennessee’s premier adult band, the Tennessee Wind Symphony,” Zastoupil said. “This band resonates deeply with me because of its rich history and artistic excellence, but also because of its mission to serve our community musically, educationally and professionally.
“The TWS adds value to the lives of its members and audiences. I’m grateful for the opportunity to work alongside an incredible group carrying this mission forward.”
Zastoupil serves as director of bands and head of the performance and ensemble division at the University of Tennessee, where he leads the nationally recognized UT Wind Ensemble and oversees all aspects of the university’s band program.
“TWS is thrilled to welcome the talent and passion that Dr. Zastoupil encompasses with every endeavor he undertakes,” Annie Nassis, TWS executive board president, said in the original announcement. “We are so grateful for his willingness to serve our community band as we enter the next era of leadership.”
Zastoupil succeeds John Culvahouse, who guided the ensemble for seven years before retiring. His selection followed a nationwide search process that brought several accomplished conductors to work with the group.
Since joining the UT faculty, Zastoupil has strengthened connections between the university and regional music communities, including the Tennessee Wind Symphony. Under his direction, the UT Wind Ensemble has performed at major conferences of the College Band Directors National Association and the Tennessee Music Educators Association. He also established the UT Conducting Workshop and the Volunteer Concert Clinic, a festival designed to serve middle and high school bands across the state.
Before his tenure at UT, Zastoupil served as director of concert bands and tenured associate professor of music at Missouri State University, where he led a comprehensive concert band program and founded several nationally recognized educational initiatives. As conductor of the Tennessee Wind Symphony, he continues to advance the ensemble’s mission of musical excellence and community engagement across East Tennessee.
TAKING CENTER STAGE AT THE GRAND TETON FESTIVAL
Each summer, the Grand Teton Music Festival in Jackson Hole, Wyoming, brings together some of the fi nest classical musicians from around the world. Among the world-class artists performing at this year’s festival were two members of the Natalie L. Haslam College of Music faculty: mezzo-soprano Renée Tatum, assistant professor of voice, and Jaren Atherholt, assistant professor of oboe.
For Tatum, returning to the Tetons was both a professional and personal highlight. She debuted at the festival in 2018 in West Side Story under Maestro Donald Runnicles. This summer, she shared the stage with Atherholt for Beethoven’s Ninth Symphony, an experience she described as unforgettable.
“To have such esteemed players gathered under Maestro Runnicles is a dream,” Tatum said. “Performing Beethoven’s Ninth with my UT colleague Jaren at such a high level was incredible. Jackson Hole is truly one of the most inspiring places in the world.”
Atherholt has performed with the festival for 18 summers, moving from second oboist to principal. She called the orchestra one of the best she had ever played with, made up of musicians from top orchestras and academic institutions across the country.
“This past summer was especially meaningful,” Atherholt said. “Sharing the stage with Renee for Beethoven 9 in that intimate mountain venue was profound. The orchestra and Maestro Runnicles have supported me throughout my career, and this moment felt very present and unique.”
Performing in the Tetons presents unique challenges. The high altitude affects reed-making and oboe performance, but Atherholt said the experience inspires her and energizes her teaching at UT. “Performing with musicians at the top of their craft gives me permission to focus fully on the art of music-making and encourages our students to strive for the same,” Atherholt said.
For Tatum, the festival setting offers a different kind of creative focus than the opera stage. Without costumes, sets, or staging concerns, she can concentrate entirely on musical interpretation. “The experience fuels my artistry and enhances my teaching,” she said. “Being invited to perform at such prestigious festivals allows me to continue performing at a high level while inspiring my students to reach the same standards of excellence.”
In addition to performing at Grand Teton, Tatum returned to the Teton Valley Chamber Music Festival as an artist in residence, mentoring students and leading master classes. Both she and Atherholt exemplify UT’s commitment to artistic excellence and mentorship, representing the university among the world’s leading musicians. Their work in Jackson Hole underscores the exceptional artistry and influence of UT’s faculty, both on and off Rocky Top.
STEPPING INTO LEADERSHIP
This past fall, Brendan McConville, associate dean of academic & faculty affairs and professor of music theory and composition, was selected as a Fellow in the Southeastern Conference (SEC) Academic Leadership Development Program. The program identifies and cultivates rising academic leaders across SEC institutions, enabling them to collaborate, reflect, and innovate in higher education.
“The ALDP represents an opportunity for growth and collaboration,” McConville said. “Through this program, we engage with colleagues from across the Southeastern Conference to exchange ideas, pose meaningful questions, and explore innovative strategies to enhance both student experiences and faculty success at our home institutions.”
He continued, “I am grateful for the chance to learn within this community and am committed to bringing back new perspectives and actionable insights to strengthen our Natalie L. Haslam College of Music and the University of Tennessee.”
At UT, McConville co-directs the university’s study-abroad program in Bologna, Italy. His research encompasses twentieth-century music analysis and the use of emerging technologies in music theory pedagogy. He is co-author of Music Theory Foundations: An Interactive eBook and has developed mobile music-theory applications for iOS and Android devices. His compositions have been commissioned, performed, recorded, and broadcast in the U.S. and Europe.
Through the SEC Academic Leadership Development Program, McConville deepens his role as a connector and innovator within the Natalie L. Haslam College of Music. His participation brings fresh vision and collaborative energy to enhance the educational experience for students, faculty, and the wider UT community.
“To me, it’s a learning opportunity. I soak everything up and think about what we can do to listen, learn, and identify meaningful change,” he said. “I also have so much respect and admiration for my fellow UT colleagues who also participate: Veerle (Keppens), Jud (Laughter), Michael (Danquah), and Christopher (McNulty). It’s a great group of people. I knew all of them well before the program, but it brings a cohort even closer.”