Orchestral playing

Traveling & Surprises in a Small, Small World

Unexpectedly, I needed to make a trip to my hometown in California, and thus this blog entry comes late, my apologies. The quickest route from Lisbon involves a very tight connection at the Paris airport (walk FAST) and then a very long direct flight from Paris to Los Angeles. Amazing double-decker plane from Airbus, see below!

Now, can you imagine that in such an enormous plane my seat is right next to a prominent musician of the Los Angeles Philharmonic? (To my Portuguese friends, this is like being seated next to Ronaldo!) I mean, the LA Phil is "my orchestra": I grew up going to their concerts every weekend, listening to my teacher, Principal Flute Anne Diener Zentner's wonderful playing, as well as unforgettable moments like Carlo Maria Giulini's inaugural concert as Principal Conductor—Beeethoven's "Egmont" and Ninth Symphony. Divine. Bought a student/last-minute ticket for $5 and sat in one of the best seats in the house.

As it turns out, my plane-neighbor was not yet in the LA Phil at that time, but there are many players I fondly remember who are still there now, such as Bassoonist Patricia Kindel, who coached my quintet at Pomona College. So what was to have been a long, dreary flight became  total entertainment of shop-talk and comparing notes! A new professional friendship was formed, and Los Angeles arrived in the blink of an eye.

Last but not least, at one point my neighbor asked out of the blue: "Do you play Powell? They're the best!" Mind you, my new friend is not a flutist, nor knows that I'm a Powell dealer/player. But that is how Powell is considered by top musicians: the top, for the top jobs, worldwide!

The view before boarding—beautiful aeronautic design!

The view before boarding—beautiful aeronautic design!

Faune-a-thon!

So we know what a marathon is, and we know what a phone-a-thon is, but what's a "Faune-a-thon"? It's when you play Debussy's "Faune" (Prelude à l'après-midi d'un faune, if you prefer) TWELVE TIMES in the same morning! I should know, because that's what was on the orchestra docket yesterday— luckily for a good cause:

The Portuguese national Youth Music Prizes is celebrating its 30th Edition this year by, among other events, staging its first-ever Competition for Orchestral Conductors, and our orchestra is their "instrument" for the live rounds, three in all. Yesterday was the first live round, with TWELVE candidates, all of whom had to conduct (the first half of) Faune, plus the 4th movement of Beethoven's First Symphony (first half, also). 

I am happy to report that it was actually fun, in part because the pressure was more on the candidates than on the flute soloist (for once). Secondly, as there was no time to talk, the approach in rehearsal to this famous and incredibly beautfily work was fairly existential—what's coming next? And thirdly, it was fun because the conductors were of an excellent level (Faune is a work that poses many difficulties and options for the conductor, too!)—another reflection of the amazing quality of music-making going on here in Portugal! Bravo, maestros!

Leon Bakst's famous program cover for the 1912 premier by the Ballets Russes, with Nijinsky as the Faune.

Leon Bakst's famous program cover for the 1912 premier by the Ballets Russes, with Nijinsky as the Faune.