Bassoonist Suzanne Nelsen: From the Farms of Alberta to the Stages of Symphony Hall

Nelsen, who joined the BSO in 2000, was born to opera-singing pig farmers outside of Edmonton, Alberta. Nelsen’s early exposure to music was both unconventional and enriching. Both her parents were members of the Edmonton Opera Company—her mother was the first Madame Butterfly in Edmonton Opera's 1963 opera production, and her father's constant play of records around the house set the stage for her and her siblings’ musical beginnings. 

Now a professional musician and a regular player with WBUR’s “Circle Round” productions for families and kids—with which she’s been involved since 2019—Nelsen has put education and outreach front and center in her musical career. "Circle Round" has been a regular event on the Tanglewood calendar for years, bringing together families for an afternoon of interactive musical storytelling. Nelsen reflected on the importance of teaching music to children, how farm life taught her the value of discipline, and how to better connect with audiences.

How did you choose bassoon?

We were asked to choose an instrument in band class. My sister picked flute, and I just thought it was the coolest thing. I also wanted to play flute, but she said no.

My second choice was trumpet. There was a trumpet professor at University of Alberta, and I asked if I could study with him. He said, “No, you look like a bassoon player.” At first, I was slightly taken aback—I had no idea what a bassoon was nor what a bassoon player “looked like.” But thank goodness he said that, because I fell in love with bassoon right away. I just thought it was really weird looking, and it's a low voice.

Farm life and music life. How did those intersect?

My parents always had a great work ethic. I watched my dad go down to the barn every morning at 7:00am and go back again at 4:00pm. The consequences were dire if he didn’t do exactly that. Like with music, if I didn’t practice every day, there would be no progress. 

I started my bachelor’s degree at McGill University and watched the Montréal Symphony Orchestra every week. I ended up getting my first job as second bassoon with them in 1995. I still love them.

I was able to connect with my community back home when I played duets in a local community greenhouse with my sister. We also once played on a street corner in Edmonton and made zero dollars! We were just playing piano pieces, Bach two-part inventions and stuff like that. Orchestra musicians always look so unapproachable on the stage—all dressed up in fancy black—you would be surprised how nice we actually are. Seeing two young people in normal clothes with their hat out busking, it makes us seem more human. They know I’m also a farm girl.

Did you ever play your instrument for the animals?

I didn’t because it’s made of wood. I swear to you if I had taken the bassoon into the barn, the pig smell would never come out. My brother did bring his horn in there and played for them! My whole family is musicians.

What do you think you’d be doing if you weren’t a professional musician?

There was a moment when I didn’t know if I would be a musician. It is really hard to get into an orchestra. I thought perhaps I’d be a sports therapist or a trainer. I really like fitness; I love how the body works.

You’ve been involved with a lot of the BSO education videos.

Yeah, that was just me having fun on my own. I think it’s important for musicians to look human, to show that they have kids, to show that they, for example, like cake, or have cats. It just makes them reachable.

How did you get hooked up with “Circle Round”?

I was first introduced to them by Leslie Wu Foley [the BSO’s former director of education and community engagement]. I was on the Education committee when she was, and she said, “We have this idea to collaborate with a children’s podcast group called ‘Circle Round.’ Are you interested?” My kids were older by this point, so I didn’t know about them, but [BSO horn player] Rachel Childers knew about them and said, “Oh my god! We have to do this!”

So, [“Circle Round” co-creator] Eric Shimelonis created a trio of music to accompany their stories and fables. We started playing at the Jamaica Plain library and at the Boston Children’s Museum. [Co-creator] Rebecca Sheir and Eric are good friends of mine. They’re wonderful people; they put together a great show. The kids literally look at them like they’re superstars. 

What has it taught you about children and music?

I truly believe that if you expose them to music early enough, it’ll be a part of them forever. I’ve heard from many parents that if they put the podcast on in the car, the kids are mesmerized.

"Circle Round” performances are different every time. Rebecca and Eric bring in three different stories and Eric writes music to accompany them. There are fairies, and families, and monsters, but there’s always a moral at the end: be nice, make good decisions, do what your mother says, etc.

“Circle Round” is for everybody. We let people talk, laugh, and interact through the whole performance. It’s kind of a free spirit thing. 

Lightning round! Where is your favorite place to grab food around Symphony Hall?

Symphony Sushi. I love the teriyaki salmon and the chicken teriyaki bento.

How about out in the Berkshires?

Jae’s. It’s the same type of food as Symphony Sushi.

What is your coffee or tea order?

I’m a venti skim milk triple shot latte person. And my tea is mint.

What is your favorite pizza topping?

I’m going to say Hawaiian. It is my favorite, but when I’m sharing a pizza with someone else I’ll get whatever they get. There’s also a really great pizza at Woody’s that has an arugula salad on it.

Maya Shwayder is the BSO’s senior contributing editor and copywriter.