How have you been preparing for the role of concertmaster at the Des Moines Metro Opera? What specific challenges do you anticipate while leading such a diverse repertoire of operas this summer?
“We have started rehearsals already, but in my preparation, I tried to focus a lot on the narratives and backgrounds of operas because there is always a story to tell. An opera is normally based on a play or a famous story. So, I watched the operas to get a feel for what’s happening when the music is being played and tried to incorporate that into the music and how to lead.
Regarding specific challenges, we have a very light opera: The Barber of Seville. That opera requires a much different kind of playing because the music is not very heavy. The music often must be played quickly and lightly. The conductor also has to be quite specific with that stop playing. Then, we have Pelléas et Mélisande by Claude Debussy, which is also light, but at times can also be heavy and thick. So that opera requires putting a lot of different styles of playing together. And then we have Salome by Richard Strauss, which is very heavy playing. It is a one-act opera, so it’s just under two hours. You can imagine that it’s a little tough to be able to focus for that long. The story for Salome is also quite mad and almost evokes Stephen King with the plot. That’s something that requires a lot of mental preparation as well, as you have to think a lot about what the characters are going through. Especially as concertmaster, when I have solos, I try to imitate much of what I hear from the singers. So, I can’t just play a solo with a one-dimensional kind of approach. You always have to think about what the singers are going to do, and you have to anticipate and adjust to how they sing. That’s the general process of how I have approached the diverse programming.”
Can you share your insights on the stylistic differences between the operas you’ll be leading this summer?
“As I mentioned, the Strauss is very heavy. Some part of it is also very intrinsic in nature, especially when contrasting it with The Barber of Seville, which is so lighthearted because it’s a comedy. The Barber of Seville is always cheerful in a way, but the Strauss is so different. Again, I have to think a lot about what the characters are doing, and I have to know exactly what’s happening on the stage. The Strauss is sung in German, and when I watched the DVD of the opera, I had to know exactly what they were talking about. There are certain scenes that require my close attention. For example, in a particular scene, one of the characters is staring off into space for quite some time with this blank look, revealing her mental instability to the audience and a glimpse of just how truly unstable she becomes once the story gets going. All the operas are so incredibly different from one another with varying expressions, emotions and stories, so it’s been a pleasure to tackle such diverse music.”
What are you most looking forward to in the Jacksonville Symphony’s 2024/25 Season?
“Several of our principals will perform solos or double concerti with the orchestra. I’m very much looking forward to our Principal Cello, Alexei Romanenko, playing Antonín Dvořák’s Cello Concerto, which is pretty much the greatest piece ever written. That’s going to be epic because he is one of the greatest musicians I know, so I’m most looking forward to that concert.”
Can you talk about some of your other upcoming projects this summer?
“I’m also going to play a chamber music recital here very soon. While I’m incredibly busy, I think it’s nice to focus on multiple projects. I’m very much looking forward to that. Then, my parents are going to come and visit me during the final week of the season here. We are in the pit for all the operas, but in the last week, we actually perform with The Apprentice singers where they sing specific arias with us on stage. That’s the only time the orchestra is actually seen by the audience, so I figured my parents can come and see me sitting as concertmaster on stage. That’s about it for now.”
