How did you get involved with PSO, and what do you like most about playing with the orchestra?
I knew that I wanted to be an orchestral musician when I graduated from the Eastman School of Music with my master’s degree in violin performance. The way the orchestral world works, however, is that you go where the job is. I am really lucky because I moved to Yarmouth after I met my future husband, Brit Vitalius, in Miami. I had heard about the Portland Symphony Orchestra; it has a good reputation, but I was looking at big city orchestras, so it wasn’t on my radar until I moved here. I took the audition and got the job.
The best part about playing with the PSO is the camaraderie between the musicians. We may have very different backgrounds, different ages, different beliefs, but the moment the baton starts to beat, we are all the same, working toward a common goal. This shared experience creates a closeness between people who might not normally spend time together. There is a high level of respect between colleagues and we all love what we do, which makes going to work enjoyable and fun. I get a big kick out of the full orchestral sound. I often liken it to rock music, where the beat gets in your bones and you have to move.
Why did you pick up the instrument at the young age of 6?
When I was 3 years old, my older brother began taking piano lessons. I would walk over to the piano and pretend to play. Soon, I was also taking piano lessons, but my parents tell me that I started asking to play the violin shortly thereafter. They thought I was a little young, but I was persistent. Finally, when I was 6, they signed me up for violin lessons too.
Nowadays age six is not considered young to start an instrument — it’s more the norm. I would absolutely encourage youngsters to pick up a musical instrument and receive some classical training. One thing I enjoy most about teaching is interacting with many different families, some of whom have no classical music experience, and opening my world up to them. I have yet to find a student or parent say that their time spent learning to play the violin was a waste. On the contrary, it is an enriching experience that maybe one day will lead to one of those kids playing in the PSO!
What were the most difficult challenges in your musical career?
The biggest challenge in becoming a classical violinist came from the fact that no one in my family before me had been on that career path. As a kid, I didn’t think I would choose music as a profession, so I didn’t take it as seriously as I might have until my junior year in college. I went to Stanford, which is known for a lot of things, but not for music performance! I spent two years between my bachelor’s and master’s degrees playing in a professional orchestra in Turkey and honing my chops. Gaining the confidence to feel like I could play as well as my peers who went to a music conservatory was my biggest hurdle. Once I felt like I caught up, I was much happier. Then I did do the conservatory thing, and had the best two years of my musical education at the Eastman School of Music, studying violin with Ilya Kaler.
How would you encourage people who don’t yet appreciate classical music to attend PSO concerts?
Classical music is an acquired taste because it is not as prevalent in our culture as other musical styles. It’s the kind of thing you have to give a chance and try a few times. My first piece of advice is to attend a pre-concert lecture before a performance. You’ll learn something very specific to listen for in the concert, and that will help you stay connected to the music. Another thing I love is talking about the music — what’s cool and why, what to listen for, what was happening in the world at the time a particular piece was written.