2022-2023 BSO Annual Report

You joined the Boston Symphony Orchestra as the first EDI Curator in 2022. Can you tell us about your role? 

My role as the Equity, Diversity, and Inclusion Curator at the Boston Symphony Orchestra has been an exciting and enriching journey. My professional background as an educator, historian, and public history practitioner informs my ethical research practices that are integral to my understanding of how our past informs both our present and future endeavors. I collaborated with Vice President of Talent & Equity Sandra St. Fleur Wright to develop a foundational research agenda that engages with the BSO’s 140-year history at Symphony Hall and Tanglewood. Much of my role is centered around researching and writing thematic historical narratives that highlight the BSO’s EDI history by utilizing our robust institutional archives, as well as local and digital archival repositories. My research is relevant for contemporary community connections, which I continue to develop and sustain in the Greater Boston area and the Berkshires.

What drew you to joining the BSO? 

The BSO is a significant landmark of the city that helped me become better acquainted with Boston. In the spring of 2022, I attended a Boston University concert at Symphony Hall with other members of the community and was uplifted by the beauty of the music and atmosphere. My joyful communal experience had such an impact that I incorporated the music I heard into a digital humanities project I was developing.

My professional experience with university slavery initiatives, including Rutgers University’s Scarlet & Black Project and Harvard & the Legacy of Slavery, have shown me that recovering hard histories and revealing them to the public strengthens our understanding of contemporary cultural landscapes. When I saw the opportunity to do the same for the BSO, I was thrilled to know that I could contribute to sharing this compelling history. My role as the BSO EDI Curator is rooted in my desire to bring the gift of music, which I received my first time at Symphony Hall to public audiences of all ages and backgrounds.

What aspects of the BSO history have been the most illuminating, challenging, inspiring?  

I have been excited to learn that the multi-generational and multi-cultural history of the BSO is indeed illuminating, challenging, and inspiring. Using the BSO archives and historic newspaper collections, I am chronicling the long history of local civic groups who used Symphony Hall as a gathering space for community programs and special occasions. Analyzing the intersectional experiences of BSO artists and patrons illustrates how race and gender expand our knowledge, exploring how people from diverse backgrounds interact with our institution and how that has changed over time in Boston and Tanglewood. I am inspired because the varied experiences of access and exclusion reveal how the BSO can be empowered by its history as a contemporary call to action. Robust community engagement and music education are among many opportunities to showcase the BSO’s expansive, vivid, and compelling history that spans from the late nineteenth century to the present.

Your work has included community outreach in Boston and the Berkshires. What was one of your highlights from working with community partners in 2022-2023? 

I was honored to host our community partner, Multicultural BRIDGE, at “An Evening With John Legend,” the last concert of the Tanglewood 2023 season. Like the others in the shed and on the lawn, I was entranced and captivated by John Legend’s powerful performance that illustrated how the African American experience intersects with his own musicality that ranges from gospel to R&B to hip-hop, an amalgamation of his distinct style.

Community members of Multicultural BRIDGE experienced a sense of belonging through both John Legend’s performance and collaborations earlier in the season through the Tanglewood Learning Institute. Celebrating history and musical excellence provides a tangible pathway to circumvent invisible barriers like race and class, that in many instances prevent local diverse communities from enjoying all that Tanglewood has to offer. The opportunity to engage with several community partners in the Berkshires has enriched my research journey and highlights the BSO’s commitment to championing Equity, Diversity, and Inclusion.

What was your favorite performance of the 2022-2023 season? 

My favorite performance of the 2022-2023 season was during the Festival of Voices in a concert conducted by Thomas Wilkins and featured guest artist Anthony McGill. Composer Anthony Davis’ You Have the Right to Remain Silent is a powerful piece that continues to resonate with me as I encounter historical and contemporary issues of social injustice. In addition to the energy of the audience and the musical excellence of the orchestra, I also enjoyed the historical meaning behind the concert that amplified the depth of the African American experience in the United States.

The panel discussions that accompanied the concerts in the Festival of Voices was also a favorite of mine from last season. Hearing from composer Juila Wolfe and her discussion of Her Story spoke to the historical relevance of women’s history and the ongoing quest for equality over a century after women gained the right to vote in the United States. The music and panel discussions of the Festival of Voices truly showcased the power of music to articulate the nuances of the human experience and continue to live on with me as I chronicle the BSO’s EDI journey.

What is most memorable about last year as a Resident Fellow?

I think going on tour to Japan with the BSO is something I will never forget. Going there had always been one of my dreams, but to be able to be there with the orchestra and my wife, Kelly, was absolutely special. To make things better, we were playing Mahler's 6th and Strauss' Alpine Symphony, two of my favorite works. We also were playing Shostakovich's 5th Symphony, an important work you always have to face when playing in viola auditions, so the fact that I was able to perform it multiple times with the orchestra was incredibly helpful.

What surprised you about your year as a Resident Fellow?

I was surprised by how much the Fellowship was always looking for my best interest and how everyone was always going above and beyond to help me reach my goals. Not even once did I feel I was doing things to "fulfill" my requirements or anything like that. Everything came down to whether or not I was learning things that would benefit me in the long run and in the auditions I had coming up.

What was the mentorship experience like for you?

I was able to play for everyone in the viola section more than once and got an incredible perspective on how to get better at orchestral playing. I also managed to establish connections with many of them that helped me when making decisions outside of the music itself, such as scheduling, managing my personal life while practicing, and even feedback on recordings I was working on.

What stands out to you about the community engagement aspect of the Fellowship?

I really enjoyed the Community Concert we presented in Dorchester; taking charge of these kinds of events with a lot of talking involved has always been a favorite of mine. Once the concert ended I was able to chat and connect with so many of the audience members and it was so incredibly inspiring. We also managed to organize masterclasses with the education department and it was so touching to be able to work with these young musicians.

What is your favorite thing to do in Boston when not at Symphony Hall?

We love hosting friends and family and are lucky to have an extra bedroom in the apartment so we managed to host my parents, my in-laws, my brother, my cousins, Kelly's sister, her cousins, and multiple friends of ours. Boston is in such a great location that people loved to come visit us from all over the world and made my time outside of Symphony Hall even better!

Reflecting on the 2022-2023 season, what were some of your highlights?

Going on tour is always a huge deal. There’s something special about a tour where people get both nervous and excited. Preparing the tour details, as well as the repertoire, is something very special.

We were able to return to touring full force with two in one season, Europe last summer and then Japan last fall. They can be really exhausting, but representing the BSO outside of our home is a different kind of focus, which is really fun.

What was the role of music in the early years of your life?

I am from a family of engineers, but amateur musicians. Both of my parents sing in church choir and community choir. They love music. Our family was surrounded by music as my dad played in the marching band, my mom tried every instrument, my grandparents were church organists, and a host of my extended family are pianists and/or organists.

I started playing music because my dad played piano at home. The story goes, that I was begging for lessons from day one, and they acquiesced when I turned seven. I was very persistent.

You have two children. What has been your experience in exposing them to music?

My kids love music. My husband’s also a musician. The family rule is that you learn how to play music. It doesn’t matter what instrument. So, they both take piano lessons, and my son just started saxophone last year. We practice every day, it’s part of what we do. It's so funny to see yourself and your own habits passed along.

There are a lot of working parents in the orchestra. I was a young parent in my early career, so my experience at Tanglewood has always been one of families, being with people outside of work in a really gorgeous and fun environment. As everybody moves out to Tanglewood each summer, your social interactions are based around hanging out with your orchestra friends a lot more. It extends beyond where our kids make friends, we spend a lot of time together. It's a really magical place.

You were the first female member of the BSO brass section in its history. Can you share how it felt to break a barrier in the orchestral world?

When I was growing up, I didn’t see a barrier. There was no messaging that girls couldn’t play brass. I’m not from Boston, so I didn’t know when I auditioned that I would be the first woman here. Once I got the job, I started getting letters from women who were horn players from generations before me. They were so excited and supportive, and they told me stories of how this opportunity had been closed off for them. That experience was really enlightening.

You’re on the faculty at the New England Conservatory (NEC) of Music. What do you find most enjoyable about teaching the next generation of musicians?

When I was in school and heard the older generations say, “You young people play circles around us,” I didn’t understand it. But it’s true. I have freshmen who come in better than I was when I was just out of grad school. The level that people obtain just keeps getting higher and higher. There are resources they have now, watching performances online, the ability to listen to any recording you want with a single click, asking questions in forums, and participating in masterclasses with the best of the best.

One of the hugest selling points for NEC is the BSO’s college card. There are hardly any other places like this with an amazing orchestra that students can access every week. I can tell that my students who are attending regularly are the ones who are going to take leaps in their musicianship. There is no better way for them to synthesize what we're working on than to actually hear people perform it.

Who do you admire?

Within the orchestra, I admire the people who maintain a sense of joy and creativity in their jobs. I’m constantly enjoying what I’m doing and looking for ways to grow. There are some people where it's just on their sleeve. You can tell right away, and those people are really inspiring.

The Tanglewood Music Center (TMC) evolves each season, with new fellows, guests, faculty, and music each year. Now that you’ve experienced Tanglewood three times as a fellow, what are your favorite memories?

I have too many favorite memories to share! Just off the top of my head: chamber reading party and post-party hang with Yo-Yo Ma, playing for Astrid and attending her recital, working with Manny Ax for Schumann Piano Quartet, Brahms Sextets (I worked with Mr. Fischer on No.1 in 2019, still remember vividly how he was dancing to the music outside of Maple Studio after we moved our coaching outside to get more air, worked with and performed with Sibby this past summer), Rachmaninoff Symphony No.2 closing concert in summer 2022, countless amazing BSO and guest artists concerts on the lawn, and singing Alleluia with everybody in opening exercises!

For those not familiar with the TMC, what does your average day look like as a fellow on the grounds at Tanglewood? 

An average day at TMC is wake up at 7:30am, get ready and have breakfast at Miss Halls Dining Hall, drive to the grounds at around 9am, warm up then attend a 10-12:30pm orchestra rehearsal. After rehearsal we would typically have lunch at Cindy’s Cafe with our meal card, rest up a little and attend a 1:30-3:30pm smaller ensemble coaching/rehearsal. Then it will probably be driving back to Miss Halls for some individual practice before dinner. Dinner is at Dining Hall again with some voluntary extra rehearsals at Miss Halls or hang out time with other fellows in the lounge. I personally cannot stay up late because I am usually exhausted by the end of the day and I would go to bed by midnight. Adding onto this average day might be attending recitals/concerts, guest masterclasses, or a possible third scheduled rehearsal/coaching.

When the Tanglewood season is complete, how do you keep in touch with other fellows and the TMC?

I keep in contact with other fellows mostly through social media (Facebook and Instagram). One year there is a group made on Facebook, this past summer there is a messenger chat with all fellows in it. Other than that, it is just seeing everybody’s update when they do post it. When fellows travel to the same city or meet at an audition, we would often have a mini reunion and share a photo with everybody on social media too. For TMC, it is mostly following emails and social media updates for me.

Outside of performing and enjoying the music of Tanglewood, what else were you able to explore and enjoy about the Berkshires? 

Every year, we go hiking on days off. We also take advantage of the gym facility at Miss Halls. Last but not least, for me it is the cute shops, cafes (Lenox coffee and Six Depot!), and restaurants (Brava!) in Lenox and other close by towns.

How has the TMC prepared you for your next stages in life, learning, and your career? 

I think the most valuable thing that the TMC has given me is a taste of professional life. At the TMC, fellows are treated as professionals, and the highest artist level is expected at all times. We also get to work with, talk to, and learn from some of the best musicians in the world. For me, these three summers at the TMC feel very much like the day-to-day life of a professional musician. We are going to be very busy and feel overwhelmed at times, it is not just about how hard/smart we practice and learn, but also how we take care of ourselves - take breaks, eat right, sufficient sleep, and most importantly, mental health, toughness, and resiliency. After three summers at TMC, I truly feel more prepared and equipped than ever to take the next stage in my career.