PHOTO BY SEAN HAGWELL
Mike Tetreault has spent an entire year preparing obsessively for this moment. He’s put in 20-hour workdays, practiced endlessly, and shut down his personal life. Now the percussionist has 10 minutes to impress a Boston Symphony Orchestra selection committee. A single mistake and it’s over. A flawless performance and he could join one of the world’s most renowned orchestras.
By Jennie Dorris | Boston Magazine | July 2012
It’s close to 5 o’clock on a late afternoon in January when Mike Tetreault, a tall, lanky redhead, turns off Massachusetts Avenue and enters Symphony Hall through a side door. He checks in with the security guard and then heads for the basement, wrestling with more than 150 pounds of gear (mallets, snare drums, tambourines) in a backpack and a roller bag. The rest of the instruments he’ll need tonight will be supplied by the Boston Symphony Orchestra. He’s an hour and a half early.
The basement of Symphony Hall is nothing like the velvety opulence upstairs. It’s cold down here, with concrete walls and harsh fluorescent lights. As Tetreault signs in at a table and waits to get into a practice room, he notices the oversize instrument travel cases that are strewn everywhere, ready to safeguard harps and timpani during symphony tours. Tetreault, a Colorado-based percussionist, has already survived a nerve-wracking round of cuts to get this opportunity tonight to audition for one of two openings at the world-renowned BSO. He reads the list of the other contenders and is pleased to see a bunch of names he doesn’t know. Younger, he reassures himself. Less experienced. Hopefully that’s an advantage for him.
Continue reading the article at Boston Magazine.com
The Musician’s Report: Houston Symphony Principal Cellist Brinton Averil Smith Addresses Their Board
Ladies and Gentleman of the Houston Symphony family, on behalf of all our musicians, thank you for joining us and welcome at this momentous time in our history. The last 100 years have seen vast changes, but there are still people in this room who knew Miss Ima Hogg. Who could have imagined 100 years ago, when she began a project to bring music to her small city, that her act of faith would grow to become an internationally renown institution serving every citizen of our booming metropolis?
In truth, the degree of success we are enjoying today on so many levels was hard to fully imagine even 8 years ago when I moved here. That was a challenging time, but I was drawn by the passion I saw in the orchestra here, and by the optimism and energy I saw in this city. Houston struck me as a place where people still believe the future is theirs to build, and build it you have.
When I attend board meetings these days I am amazed by how much activity is going on; how the orchestra is planning for the future, and reaching into every part of our city. The criticisms that are often leveled at American orchestras – that they are exclusionary, isolated, out of date or out of touch- are all dispelled by the work we are doing here. We aren’t waiting for a crisis to build relationships throughout our city, or to open our doors and share our music with the broadest range of our population, or to send musicians to bring music into our schools and hospitals. We are doing it now, in good times, because we believe in it. I have not seen a better staffed, better run orchestra anywhere than what you see here today, and I’m extremely proud of our team and all they are doing.
You know already how well the orchestra is playing today. I believe I can say without exaggeration that some musicians in this orchestra are truly among the very best in the world at what they do. And with our growing reputation it can get even better as we add new musicians in the coming years. We are about to embark on a new era with Andrés Orozco-Estrada. His intelligence, charm and blend of European and South American cultures sounds like a marketer’s fantasy, but only great musicianship wins the hearts of the musicians, as he has. I’ve had the good fortune to have worked with almost all the top conductors of my era, and Andrés is one of the most talented and exciting conductors I’ve ever worked with. His time with us could become the symphony’s greatest era yet.
Continue reading the article at houstonsymphonyblog.org