conductor and educator

Bringing Music to the Global Stage

As a professional conductor as well as a diplomat for the U.S. Foreign Service, Paige has enjoyed bringing her talents to the world stage.  Her creative approach to programming and integration of culture in music has made her a favorite among symphony orchestras worldwide.  Paige returns to Africa this year and will enjoy furthering her vision of inspiring and educating orchestras and audiences.

Contact Paige
"...a wonderful presence on the podium, having that quality all conductors strive to find: the uncanny ability to captivate and motivate both an audience and an orchestra."
Peter Bay
Austin Symphony Orchestra

Celia Paige Kanekkeberg conductor

After having enjoyed twenty-years in the music industry, Paige Kanekkeberg currently works as a Diplomat in the U.S. Foreign Service. Prize Winner at the 2003 Vakhtang Jordania International Conducting Competition, Peter Bay of the Austin Symphony praises her as “a wonderful presence on the podium having that quality all conductors strive to find: the uncanny ability to captivate and motivate both an audience and an orchestra.” Previous posts include assisting the late Skitch Henderson with the New York Pops, a nine-year tenure with the Colorado Youth Symphony, and an eight-year tenure with the Boulder Youth Symphony. Additionally, she has served as Music Director and Conductor of the Pikes Peak Philharmonic, Director of the Metro State Wind Ensemble and Assistant Conductor of the Lamont Symphony Orchestra at the University of Denver. 

"Her medal was richly deserved and she has my vote as a top conductor of the future."
David Winkler
Juror, Vakhtang Int'l Conducting Competition

Reviews & Testimonials

"...elicits a beautiful, natural sound from the orchestra, and she creates the circumstances where the orchestra wants to play for her and help her realize her strong musical intentions.”
Samuel Jonescomposer
“What a difference live music made to this performance. The score by Jarbas Bintencourt got a terrific drive from conductor Paige Kanekkeberg.”
Reviewer, Glenn GiffinDenver Post - September, 2003
"She gave me a superb accompaniment in a performance of a Mozart Horn Concerto (K447). She got a really sparkling classical sound from a group of inexperienced, tired-from-rehearsing, and unfocused group of young players, and did so with the finest of inter-personal dynamics. Her gestures, deportment, concepts, and energy level really galvanized the participants into obtaining those fine results. The results were so good, in fact, that the live recording of the performance will be included on CDs being circulated for festival recruitment. It was a remarkable achievement on her part, and demonstrated, clearly, that she possesses skills and talents that cannot be taught in conservatories. She clearly is a star in ascendance."
Lowell Greer, Ph.D., DARegent of the Geyer Guild / Prof of Horn (ret.), The University of Michigan
“Amazing music from the Bombay Chamber Orchestra, which was guest-conducted by New York-based Celia Paige Kanekkeberg.”
Narendra KusnerMidDay - Bombay, India - February, 2004
“To describe Paige Kanekkeberg as merely an outstanding conductor and flutist is truly a disservice to the music community. As Director of the Notes at 9,000: Emerging Artist Series based in Winter Park, Colorado, I have come to know and appreciate the multi-faceted Paige Kanekkeberg. She is a quick study in entrepreneurial concepts for the development of sustainability in musical careers as well as being the quintessential ambassador for all genres and ages of music and musicians. Paige's contemplative approach to the development of both music and musicians breathes new Life into an often stale and technical realm. In a World of paint-by-number, Paige is a tapestry--she interweaves her vibrant color and texture into the exciting future of Music. I am truly fortunate to have had the opportunity to work with her."
Amy J. Clark, Chairman, Board of DirectorsNotes at 9,000: Emerging Artist Series, 2004
“Conductor Paige Kanekkeberg was adding bass drums to a death scene at dress rehearsals and will suddenly gesture her musicians back a few bars to repeat a section if she sees the dancers going with the moment and extending an “Orfeu” movement.”
Reviewer, Michael BoothDenver Post - September, 2003
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