Everywhere I go during Spoleto, people — often poorly informed ones — ask me about the Spoleto Festival Orchestra. “Are they from a local high school? They look so young.” Aghast at such injustice, I’m here to set the record straight.
Last Spoleto, long-time SFO manager Tom Parchman stopped by my Millennium Music classical room (remember, I work there), and honored me with a few friendly moments of his time. I’m grateful, as he confirmed what I’ve been hearing for years from the SFO musicians that hang out there all the time, between rehearsals and performances. This piece got lost in last year’s hubbub, and never ran – so kindly indulge Supergeek his overdue tribute here.
In case you haven’t read or heard it from anybody else, these are truly among the world’s very finest young instrumentalists. It’s a big feather in these players’ caps to claim SFO experience on their resumes – it’s helped lead to brilliant solo careers and many a first-chair spot among tip-top orchestras (like the Concertgebouw, the Met, Cleveland, LA, etc.). Maestro Villaume can’t stop raving about the honor and privilege of working with his “orchestra of virtuosos.”
You may not be aware that Spoleto combs the nation’s finest conservatories and university music schools for the best emerging young players – all year long. Most candidates are grad students or recent alumni with budding careers. Auditions (about 15 of ‘em, conducted nationwide) are rigorous and highly competitive: around 800 musicians apply annually, but only 100 get the final nod. Either John Kennedy (Music in Time series director) or chief music director Emmanuel Villaume (sometimes both) is there for each tryout. Think the cream of Juilliard, Curtis, Peabody, Oberlin, Indiana, etc. – you’ll get the idea.
For over a month (they get here well before the festival starts), they make up America’s busiest – and BEST – young orchestra. They perform in all three operas, the two orchestral concerts, the big choral-orchestral gig, plus the MiT and Intermezzi series. Dr. Wadsworth even taps ‘em for occasional chamber music duty at Dock Street. Most of them spend at least six hours daily either in rehearsal or performance, with no time off to speak of. And that’s not including constant personal practice (and time spent here at Millennium studying recordings of what they’re playing). They work for peanuts and glory: they crash in College of Charleston dorms while they’re here, and are paid only a tiny stipend that covers little more than their food.
Year after year, Spoleto-goers keep taking these brilliant and overworked artists for granted. Let’s break that bad habit this time ‘round. I’ve said it in print, and I’ll say it again online. Next time you see a gaggle of black-clad musicians with bags under their eyes wearily hauling their instruments down Calhoun street, take a moment to stop and smile and tell them how much their skill and superhuman effort mean to you. ‘Cause without them, much of Spoleto simply wouldn’t happen.
