Meet the Musician Monday: Violinist Jessica Dan Fan

Where did you grow up? Did you grow up in a musical family?

I grew up in Sichuan, China (where the hot and spicy food is from:)). Both of my parents were music professors. I started to play when I was 3 years old, and my first violin was personally made by my dad. I was admitted to the pre-college division of Central Conservatory Of Music in Beijing when I turned 10. That year, there were 12 students admitted to the school after 4 rounds of national auditions. There were 6 violins, 2 cellos, 3 pianos and 1 harp. In order to study in the prestigious school, I had to bid farewell to my parents and my hometown to live on campus which was a 3 hour  plane ride away. Music has been a major part of my life since then.

Jessica at 3 years old holding her
first violin which her father made for her

What is your position in the orchestra and when did you join? 

I play in the violin section in the orchestra. I joined in 2002 after serving 4 years in the U.S. Airforce Strings.

What brought you to the states for your job?

I left Beijing to come to the States right after the Tiananmen Square Protests in 1989. At the time, I had just graduated from the pre-college division at the Conservatory and decided not to continue my studies there. Though I received excellent training, I have always believed that Western music has to be studied in the west.  

What has been your most favorite musical experience at KCOHO?

The 10 years of working with Director Domingo has been my favorite experience. His unparalleled performances, especially his passion and love for opera and music in general made me feel so fortunate to be working for the KCOHO.

What made you decide to play violin and where did you do your musical studies?

I have to attribute my first love of violin to my parents. I started to learn from my father at three. I was told that I had such a tomboy personality, my parents had to find me something to occupy my time so I wouldn't get into trouble otherwise. Spending my formative years in the Central Conservatory of Music in Beijing pretty much solidified my path to becoming a musician professionally. I went to The University of Miami, School of Music on full scholarship after 8 years in the pre-college division of the Central Conservatory of Music in Beijing, to study with Prof. Tom Moore. Upon graduation from Miami, I came to University of Maryland for my Master's degree in violin performance and studied with Mr. Arnold Steinhardt.

Do you hold any other positions outside of the orchestra? 

I really enjoy teaching. My students are seen in AYP, TCSYO, VA All State Orchestra, Fairfax Symphony etc. I have taught at the Levine School of Music, the NSO Summer Music Institute and have been teaching at the Sewanee Summer Music Festival for the past few years. Teaching is such a rewarding experience when I see my students grow both musically and personally.  I also regularly give solo and chamber recitals with my long time friend and colleague, pianist Narciso Solero. And when schedule allowed, I have played with BSO, Wolf Trap Opera and National Gallery Orchestra etc.

Have you had any other jobs prior to KCOHO?  

Before joining KCOHO, I was a member of the United States Air Force Strings for 4 years. It was an unforgettable experience, from the 6-week long boot camp  to traveling the world on military airplanes ( C-130, KC-135...and I have even been on a retired Airforce One once), to playing for the presidents and the dignitaries in the White House...Nothing comes close to the demand both physically and mentally and the fun and comradeship you can build with your friends and fellow musicians.  

Jessica performing as a part of the Air Force Strings
for Chinese President Jiang Zemin's visit

Jessica on a European tour with her Air Force Strings
comrades waiting for take-off on a KC-135 

Do you have any "hobbies" outside of music?

I enjoy yoga and meditation very much. I really try hard to make it a daily practice.  After nearly 2 years of practicing, I find myself being able to do the poses that I would never imagine doing. I am now more flexible than when I was in my college years! It helps me tremendously with my strength, balance, flexibility and a peaceful mentality which is much needed for the challenging job we have as opera orchestra musicians! My other hobby would have to be cooking! I love to cook when I have time. Though I'm from Sichuan, China, my cooking style really is a mixture of southern and northern Chinese cuisine. Last but not the least, I love travelling, especially doing so with my husband Ning and 2 kids Tommy and Leia.  Things to experience, people to meet, and new food to try always leave me mesmerized after each trip. If music is a universal language that can unite us all, then travel makes one modest, and you see what a tiny place you occupy in the world!

Some of Jessica's favorite
Chinese dishes that she cooks

Jessica with her husband Ning in Iceland

Meet the Musician Monday: Hornist Wei-Ping Chou

Where are you from originally? When did you move to the US?

I grew up in Tao-Yuan, Taiwan, and moved to US to attend Idyllwild Arts Academy as a freshman in high school.

Where did you do your musical studies?

After Idyllwild Arts Academy, I attended the Manhattan School of Music for my bachelor’s degree studying with Jerome Ashby, and continued my graduate studies (master’s and artist diploma) at the Juilliard School with Julie Landsman.

What made you choose the French horn?

My mom (who is a piano and music teacher) picked for me when I was in third grade. I was in a special music program where every student was required to play the piano and another orchestral instrument.

She thought that string instruments were too expensive, and that they required too much maintenance. She also didn’t want me to worry about reed making, so woodwinds were out. (Meanwhile, too many people played the flute already.) She thought tuba and trombone were too big for me and trumpets are too loud. With the process of elimination, she chose horn! She believed it was cost-effective, weatherproofed, and kid-friendly. I thank her decision to this day!

How many auditions have you taken? Can you give us a little background on your audition history?

I stopped really counting at one point. Mostly because the number got huge, and I didn’t want that number to discourage me from working toward my dream.

I have been taking auditions since my second year in college, and I wasn’t one of those players who won them early on. But l kept going. I have been in the finals for bigger orchestras like LA Phil, but have been rejected plenty of times in first rounds by many others also.

Do you have any advice for musicians who are planning to take auditions?

Don’t give up if this is what you really want! I didn’t win my job right out of school, and I have taken 50+ auditions. I have always wanted to be in an orchestra, and I knew it required lots of practicing, passion, persistence, determination, and a little bit luck to get there. When I say "luck", I don’t mean just pure luck, but that you need to perform well on the day of the audition, and to also have similar musical ideas and sound concepts as that specific committee/orchestra.

I like to compare taking orchestra auditions with playing the video game “Mario Kart”.
When I was at Tanglewood Music Center, my roommate had a game cube in our dorm room, and we would play Mario Kart. I wasn’t very good at it, and when you are not good at something, it’s just not fun. I was determined to be better, so I spent three hours a day practicing on it. (Determination and practicing for the auditions!) I started practicing as a solo driver, but I was so bad at it, I couldn’t see any improvement, so I would write down the time for each lap; whenever I got faster, I’d erase the previous time, and write down a new one. (Recording and writing down notes.) When you start to see (hear) improvements, you start to get encouraged. (gaining confidence) Once I learned all the tracks well, I started to add in computer players. (Learned all your music, and time for live rounds!) Lots of things could happen when you add in the unknown-you could be leading and get hit my a turtle shell and fall off a track. (playing well, and a distraction happened, and you made a huge mistake). But you stay calm: knowing you did all the preparations you possibly could, and you knew the track (music) inside out. You collect yourself and keep going. Or you started to get excited right before the finish line, because it’s going so well, and that’s when mistakes happen, and that’s another reminder: it’s not over until it’s over.

In addition to playing with our orchestra, you also play with a few other ensembles. Can you tell us a bit about what it’s like working with Orpheus and Marlboro?

Playing with amazing musicians in a chamber music setting is one of the most uplifting experiences for me. They are collaborative experiences with inspiring fellow musicians where we feed off of each other’s energy. They motivate and encourage me to be the best musician that I can be. I feel very fortunate to experience this magical feeling of camaraderie during each and every thrilling performance with these outside groups.

What do you like to do outside of French Horn?

Since 2014, I have been trying/learning/doing something new each month, and from there I have found my new passion outside of music: flying trapeze! I fly on a regular bases and loving every minute of it. It’s everything I never thought I could possibly do. Other than that, I also have a great appreciation toward good eats, and therefore I cook and bake quite a bit. I like to keep a creative mind when possible, so I also knit and make earrings!

Meet the Musician Monday: Violinist Najin Kim

Where are you from originally? 

I am originally from Seoul, South Korea. I moved to New York with my brother, a cellist, when I was 13 years old.

Najin and her brother before a duo concert

When did you begin studying the violin?  

I was 4 years old when I started to play the violin. I do not remember exactly how or why I started, but according to my mom I nagged her every day for violin lessons. 

Where did you go to school?

I went to LaGuardia High School in New York, The Juilliard School for my undergraduate degree, Yale School of Music for my graduate degree, and Peabody Institute for a graduate performance degree.

What year did you join the orchestra? 

I officially joined in 2009. I was a guest (substitute) musician from 2007 for about two years.

Did you play in any ensembles previous to the KCOHO?

Prior to joining KCOHO, I was an associate concertmaster at the Annapolis Symphony Orchestra.  I was also a guest musician with the Baltimore Symphony Orchestra, National Symphony Orchestra, and New World Symphony Orchestra.

What do you like most about playing opera and ballet music?

I like opera for the beautiful arias. I feel lucky to work with singers here who are amazing.  Sometimes when I listen to their singing, I forget that I am working.  For ballet, I like that I get to play different repertoire. Occasionally I find second violin parts to be more interesting and demanding than opera. 

What is most challenging about playing in a pit orchestra vs. playing onstage?

Three come to mind. First, it is more difficult to hear each other well in the pit than on stage I think.  Sometimes it becomes very hard to hear instruments on the other side for how the pit is. Also, the pit is smaller and we have limited space for everyone. I always wish for more space. Third, having a conductor up high makes it challenging to watch him/her and the music at the same time. Such a setup is necessary however for conductors to coordinate the orchestra and the stage.

Do you have any favorite moments from your time here with the KCOHO?

Yes, I cannot forget my first opera here as a guest (substitute) musician in 2007. It was Jenufa by Janacek. The opera was beautiful, and the singers were amazing. The story was tragic and I remember being very emotional.  Now I am tougher after many operas with tragic endings, and even laugh at jokes like ‘oh, she must have revived again tonight’ but back then, I was not.  I sat with Martha Kaufman who I met for the first time. She was very sweet and I still have Jenufa CD copies she gave me. And of course The Ring was an experience I will never forget. It was a miracle for me to be part of, and to manage such a heavy schedule when I had a three month old baby at home! It was one of the most difficult operas to learn in my life.  I am proud we have done it.

Jenufa curtain call

What are you most looking forward to this season?

I look forward to every opera this season including the one I am currently on: Alcina by Handel. We have Barber of Seville, Don Carlo, and Candide left and I look forward to all of them for different reasons. To just pick one it would be the grand opera Don Carlo, which I will be playing for the first time. I am also thrilled to play Candide by Bernstein, who is my all-time favorite composer.

What do you do in your spare time away from the violin?

Najin's daughter, Christina trying to
ride a stuffed horse

I have the cutest 22 month toddler at home and I would say I spend 90% of my spare time with her, if not 100%. It is the happiest time I do not want to miss.  If you asked me the same question two years ago, it would have been a boring answer like yoga, cooking, etc.

Do you have any advice for young musicians just beginning their musical journey?

Yes, that their musical journey would be happy and happier with others, and that it will be a lifetime journey of joy, some good struggles, and nonstop learning.

Meet the Musician Monday: Bassoonist Sam Blair

Do you come from a musical family?  When did you start your musical training and what made you choose the bassoon?  Do you play any other instruments?     

I grew up listening to my dad play electric guitar and sing in his bedroom.  He was also in an Irish jam band, and one of my earliest memories is of me playing a drum on stage with him at a pub.  I must have been three or four.  He tells me he used to sing to my mom’s belly when she was pregnant with me.  That’s probably where I got my early musical abilities.  

I started bassoon in the 6th grade at the age of 11.  Many kids start on something a little smaller and easier, like the sax or clarinet, and then get switched to bassoon when the band director desperately tries to fill the hole in their ensemble.  I really wanted to play the french horn, so I showed up the summer before 6th grade to try out, but I couldn't make a sound on the mouthpiece.  I tried every instrument they have in the room and failed at even squawking out a sound.  In a hail mary attempt, the band director left for a minute and came back with a bassoon reed.  I peeped out a sound and she handed me this big case of an instrument I had never heard of before.  I remember crying as I left with my mom thinking I had failed and they stuck me with the instrument they didn’t even bother trying everyone out on.  I didn’t know how to put it together, it was almost as tall as me, and my hands weren’t quite big enough to get to all the keys.  But I grew into it, and I’d like to thank my band director for introducing me to my future!  

I learned to play percussion in marching band since bassoons don’t march, so I know my way around a marimba.  I also played drums for a couple of years in a garage band, and I’ve been playing guitar since middle school as well.  

When did you join Kennedy Center Opera House Orchestra and what were your favorite productions since?  

I started with the KCOHO at the end of the 2011 -12 season.  My first production was Verdi’s Nabucco with Maestro Auguin.  That will always be one of my favorites.  I also really enjoyed last season’s The Marriage of Figaro. Mozart is an amazing writer for bassoon, and every single note is a joy to play. Any time we get to play a ballet by Prokofiev is great also. He has such a unique style and sound that I absolutely love.

You’ve performed in many places outside of the Kennedy Center.  Tell us about your experiences playing with different groups/festivals in DC and around the world.  

I was lucky enough to play a long trial for co-principal bassoon with the Malaysian Philharmonic Orchestra in Kuala Lumpur during my last year of grad school and the year following.  I went out three separate times for a total of five months.  It was such a great learning experience fresh out of school, both musically and for life.  Learning about and living in a completely different culture was enlightening.  As much as I enjoyed my time there, I knew I couldn’t live there forever, so I ultimately decided to return to the U.S. to join the New World Symphony in Miami Beach, FL.  

Another highlight of my young career was playing for the YouTube Symphony in Sydney, Australia. They chose the orchestra based on an audition video you literally posted to YouTube.  Others could watch and vote for their favorites. Under the baton of Michael Tilson Thomas of the San Francisco Symphony, 100 or so musicians from all over the world came together to play a concert at the iconic Sydney Opera House.  The concert was live streamed on YouTube and was a huge success.  

I was one of four musicians selected to do a promotional video leading up to the event, so I actually got to go to Australia twice in one month.  I was very jetlagged. The program was called “Making Tracks”, and the idea was to pair a classical musician with a local pop musician, take them all over Australia, and write a song together in a week. It was to promote the show as well as general tourism.

I had an amazing time with my collaborator Stu Cullen playing all over the country, and I can safely say that I am the only bassoonist in the history of the world to play in a hot air balloon.

Just a casual jam session floating over Parliament House in Canberra, Australia

Playing with the Verbier Festival Orchestra was another wonderful experience. It’s a summer festival program in Verbier, Switzerland and it is one of the most beautiful places on Earth. It’s so interesting playing with people from other countries and educations. It’s a challenge getting in synch, but I think the product is one that could not be duplicated by musicians of a similar upbringing, and that’s exciting. The very first concert I played there featured Strauss’s “Alpine Symphony” directed by Charles Dutoit. Playing that piece in the Alps, using real Swiss cowbells they literally picked up from a nearby farm, was a once in a lifetime performance that I will always cherish.  

Warming up for a rehearsal in Verbier and representing the WNO!

When I add it all up, my bassoon has taken me to 14 countries on five continents. I consider myself a very lucky individual to have a life in music, so much so that I have “lucky” tattooed on my spine.  

What kind of music do you listen to other than classical music?

I grew up listening to classic rock, and I listen to mostly rock when I’m driving. I was never able to listen to music when reading or studying, whether it was classical or popular. I’m always drumming along or trying to analyze the piece I’m listening to.  

What are your hobbies?

I like to play disc golf around the area.  I started playing in college with my dad and his friends. It’s a great way to get outside and walk around, and they’re usually in wooded areas. Being around trees always makes me happy. I also like to annoy my girlfriend with made up songs I play on her ukelele, usually just describing what she’s doing.  

Meet the Musician Monday: Cellist Igor Zubkovsky

Photography by Danielle Cho

Where did you grow up? Do you come from a musical family? 

I grew up in Moscow, Russia.  Both my parents are professional musicians - my father is a pianist, teacher and composer and my mother is a pianist who does a lot of accompanying - obviously, there was never a shortage of practicing with the piano which, of course, was and still is very beneficial.  

This is a video of me performing Tchaikovsky's Pezzo Capriccioso with my mother, Susanna Kolker.  

You can hear the piece Waltz "Recollection" composed by my father, Sergey Zubkovsky.  

Where did you do your musical studies?

My parents took me to the Gnessins Moscow Special School of Music when I was 5, and there was a very good cello teacher who I stayed with through the high school.

Then I entered the Moscow State Conservatory, and at the end of my first year there I got into the American Soviet Youth Orchestra that was made up of 50 young musicians from the United States and 50 from the Soviet Union, we toured numerous cities in both countries as well as Europe - Joshua Bell was the soloist and Leonard Slatkin one of the conductors.  Many of the students who were there are now in the top orchestras, including Michael Mayhew (who was my roommate on the tour), the horn player at the Cleveland Orchestra and Eric Lee, our own Associate Concertmaster.

What made you decide to pursue your musical career in the States?  Did you play in any ensembles previous to KCOHO?

Shortly after I finished my studies in Russia, I got a call from my friend who went to US a few years before and was studying at the Peabody Conservatory, and he said - hey, we need a cellist for the string quartet, would you be interested in applying for Peabody? I thought - sure, why not.  So I sent an audition tape and got a full scholarship for Graduate Performance Diploma.  It was a good experience, I especially enjoyed working with Earl Carlyss, the former violinist of the Juilliard String Quartet - not only going to his chamber music and string quartet classes but we actually got to perform together on numerous occasions and received critical acclaim.

At my second year at Peabody I started taking orchestra auditions and got an Assistant Principal position with the Harrisburg Symphony Orchestra which I keep to this day.  With this orchestra I performed Beethoven's Triple Concerto as a soloist, as well as many other symphony programs and their annual July 4 concert series.

HSO July 4th concert

I also was a member of Pittsburgh Opera for one season, before winning an audition for Louisville Symphony in the summer of 2003 - but I only got to play one summer concert there because just a couple of months later I got my current position with KCOHO.

What is your position in the orchestra?

I am a member of the cello section.  Since there are only six cellos in our orchestra, on some occasions we all get to play principal.  Last season I have been acting principal for several WNO productions and played solo cello parts in operas Don Giovanni, Rigoletto (as part of “Justice at the Opera” concert that featured Supreme Court Justice Ruth Bader Ginsburg), and Champion, "An Opera in Jazz", where my job was to lead a cello section against the jazz quartet.  And in one number, called "Seven Babies", which is a big aria that Denise Graves was singing, there was a big cello line that accompanied her so that was quite an experience.

You have a very active chamber and solo career. What sorts of concerts have you played? Where have you performed?

Over the years I played in all sorts of chamber groups, starting at the Moscow Conservatory where first I became a part of the "Moscow Soloists" chamber orchestra conducted by famous violist Yuri Bashmet, then I was a member of the "Brahms-Trio" - we won top prizes at the chamber music competitions in Italy and Germany.  

Brahms Trio Announcement

Also, as a Grand-Prix winner at the 1st Tansman Competition in Poland, I performed solo with Lodz Symphony Orchestra and also recorded a CD (which is available on Amazon.com and Prestoclassical).  Here's the other CD with my solo appearance which is also available online.

Lodz Philharmonic program

Later, we formed a Capitol Piano Trio with pianist Anna Ouspenskaya and violinist David Chernyavsky who was then Assistant Concertmaster of the WNO Orchestra (currently he is a member of San Francisco Symphony).  We played locally and recorded a CD with trios of Mendelssohn and Babajanian. 

For about 7 years I've had a group called Marquis Ensemble - piano/clarinet/cello.  One of the highlights was the series of concerts in Paris.   Since the repertoire of our ensemble was limited, I've done some arrangements for the group, one of them - Gliere's Andante, originally for coloratura soprano and orchestra.

Also I performed at the Merkin Hall in NY, and was a soloist with Altoona Symphony, playing Tchaikovsky's Rococo Variations.

Also, in recent years I traveled to Russia and performed concerts at the Rachmaninoff Hall in Moscow as well as in Yaroslavl and other cities.  Last year I returned to Bedford, MA where I played before.  You can watch part of my recital below.  

What has been your favorite musical experience at the Kennedy Center or elsewhere?

I really loved playing Puccini's Turandot.  And of course, - because I love playing Russian operas, - Tchaikovsky's Maid of Orleans which we performed in 2005 with Mirella Freni singing the title role.  I also collaborate with the local opera company Bel Cantanti, which only uses a string quartet instead of the full strings.  It's a combination of chamber music and opera - every musician is responsible for their parts since everything is so magnified.  The director of the company, Katerina Souvorova, is also Russian, and we got to perform such operas as Glinka's Russlan and Lyudmila, Rachmaninov's Aleko, and this season they are staging Rimsky-Korsakov's Sadko.

Igor warming up before the Bel Cantanti performance of
 Menotti's, "The Unicorn, the Gorgon and the Manticore."

What are you most looking forward to this season? 

This season we have two Verdi's operas that I have never played before.  We just finished "Aida" which I enjoyed very much, and now I am looking forward to "Don Carlo" with our Music Director Philippe Auguin in March.

Do you have any hobbies outside of the orchestra?

I've done some arranging - mostly duos and trios with a cello.  I teach privately and publicly.  This year, I was on the faculty at the Miami Music Festival where I did private lessons and masterclasses, performed at the faculty recital (with a WNO violinist Michelle Kim) and also played in the orchestra with students.  We performed an all-Wagner program with our KCOHO colleague Michael Rossi conducting.  Michael is the second trumpet player and a conductor who founded this great music festival in Miami.

Also this year I will be one of the judges for the Friday Morning Music Club High School Competition and the Washington International Competition for Strings (preliminary round).

Please visit my YouTube channel where you can see my other videos.

Meet the Musician Monday: Violinist Karen Lowry Tucker

When did you join the Kennedy Center Opera House Orchestra?

I was the first hire of our former music Director, Heinz Fricke in 1992. He had been the Music Director of the Berlin State Opera (Staatsoper) for 30 years prior, and our orchestra greatly benefited from his experience. At the beginning of his tenure the orchestra held auditions to fill 2 violin openings, 2 cello openings and a harp opening. Having won one of the violin openings, I welcomed a chance to try my German on the Maestro and it was a disaster! I had been a member of the Munich Chamber Orchestra from 1979-1981 and the 15 of us hailed from all over the world. I am from Louisville, KY, my stand partner was from Turkey, the concertmistress was from Texas, our principal second violinist was from Japan, the principal bassist was from Austria and the other musicians were German born. In his broken English Maestro Fricke told me my German accent was "all over the place". Go figure...

When did you begin playing the violin?

I began studying the piano at age 5 and at the beginning of the 6th grade, a member of the Louisville Orchestra came to my elementary school to give us a demonstration on the violin. I loved music and hated math so when I was told violin lessons would be once a week during our math hour, I SIGNED UP. I didn't escape math because music depends on math; however, little did I know that at age 12 I had just chosen my career path.

Because of my beginnings, I have for many years now chosen to perform fun, educational children's shows in the elementary schools of Washington, DC with my colleague Elizabeth Pulju-Owen and her husband Drew Owen. Our objective is to help expose young people to the joys of classical music. It is so rewarding when I detect that we have caused a young student to catch that same spark I had in the 6th grade.

Did you play in any ensembles previous to KCOHO?

I played with the Louisville Orchestra while working toward my Bachelor of Music Education degree from the University of Louisville. Subsequently, I decided I wanted to perform more than I wanted to teach, so I pursued a Masters Degree in Performance from the University of Texas at Austin under the tutelage of Stephen Clapp. I traveled to Europe to spend a year exploring before wanting to start the grind of auditioning for an orchestra job in the U.S.  In that I traveled nowhere without my violin, I heard of an opening in Munich, Germany with the Munich Chamber Orchestra and decided to test my auditioning skills. I thought I had nothing to lose for no one knew me there and I wouldn't be embarrassed if I got nervous and played poorly.  I GOT THE JOB. I was elated because I love to travel and they were a touring orchestra. We were in Munich less than 10 days a month so the rest of the time I was able to travel the world with this fantastic ensemble. When I was hired they had just returned from Japan to my dismay. I had always wanted to travel there because my early violin studies were based on the Japanese Suzuki method. Instead, the orchestra's next tour was 5 weeks in AMERICA! 

Upon returning permanently to the U.S., I was an apprentice with the Atlanta Symphony under Robert Shaw and the National Symphony Orchestra under Mstislav Rostropovitch. Both afforded me invaluable experiences which prepared me for an appointment as Associate Concertmaster of the Knoxville Symphony and 2 years with the North Carolina Symphony. My summer studies and summer orchestral experiences have been at the Meadowmount School of Music, the Aspen Music Festival, the Eastern Music Festival and the Grant Park Music Festival. 

What do you enjoy doing when you are not playing the violin?

I LOVE to travel. Growing up my dad drove the family to a different part of the country for vacation every summer and I enjoyed it immensely. My dear husband, Del, is an avid swimmer and we have enjoyed traveling extensively throughout the Caribbean  He has twice participated in the 4.4 mile Chesapeake Bay Swim, swimming across the bay in under 3 hours. He also loves to drive so we now take long, well planned road trips in the summers. We enjoyed staying in the French Quarter of New Orleans last summer and witnessing the sights and sounds of that vibrant city. One year was a road trip to the Santa Fe Opera Festival and the Grand Canyon. Several years ago we drove to the one state I had never visited- Maine. We had a glorious time with my colleague Meg Thomas and her dear husband at their beautiful summer home in Camden.

Karen's husband & support system, Del

I also like to occasionally take the train to NYC to the Metropolitan Opera and be an audience for a change. I usually choose to attend an opera we have just performed or one we are about to perform. I get quite emotional and silently cry inside because I know every note and can finally see how it all fits together. I always meet an audience member who sees how emotional I am and is very impressed that I would go to such lengths to see an opera.

What is one of your most memorable moments during your tenure here at KCOHO?

My fondest memory is a staged concert we had honoring operatic legends such as the great Ms. Leontyne Price. As Ms. Price graced the stage to receive her honor, she said a few words in her ever so eloquent and elegant way and then she surprised us all. She began to sing "America the Beautiful" a cappella and we were in awe! What an unexpected honor.

What are you most looking forward to this season?

I look forward to playing Handel's Alcina for I love the era.  It's a new opera for me and I've already begun to do my muscle exercises to prepare myself for holding the violin up for very long periods of time. I was actually in line to be one of the musicians on stage who gets to wear period clothing, play a short memorized part and then go home. I declined because I really want to play the entire opera - besides, the thought of wearing a wig over my signature avant-garde hairdo is not an option. Sorry George Fredrich...

As a first violinist, you have a lot of notes to play. How do you handle your preparation?

Playing first violin in an opera orchestra is exciting and taxing at the same time. It has proven to be quite athletic for me personally because we seem to be playing constantly. My upper arms look like Popeye! I am grateful for my sensitive and caring physical therapist who was a marvelous pianist and therefore understands the demands of being a musician. She keeps me motivated to stretch my muscles correctly so as to prevent injury and helps me with ways to continually promote good posture. I am always anxious to receive my music so I can pace myself and not let it pile up.

I am in my 25th year with the KCOHO and I am grateful to the late Maestro Fricke, the audition committee in 1992 and for the prayers of my mommy for the chance to play at the Kennedy Center for a quarter of a century and counting. Thank you dear Del for your undying support, for your patience and for honestly enjoying listening to hours of scales and passages I repeat over and over and over again until it's finally to my liking. I am also grateful to perform on a beautiful 1783 Italian violin by Antonius Gragnani.