Our Emeritus feature this week is former Principal Flutist Michael Parloff of the Met Opera Orchestra, who served in this position for 30 seasons! While he no longer plays with the orchestra, he stays busy on faculty at the Manhattan School of Music (since 1985) and as the Founder/Artistic Director of Parlance Chamber Concerts in Ridgewood, NJ. Here is what he witnessed during his time with the Met: - What is the biggest change you've seen in your orchestra over the course of your career? I feel extremely fortunate to have been a member of the Metropolitan Opera Orchestra from 1977-2007. During that time, the orchestra's reputation for solid, hard-working professionalism grew steadily, ultimately achieving its present status as a world-class ensemble of international renown. Over the next dozen years of my own tenure, the Met Orchestra toured extensively, performing and recording both operatic and symphonic repertoire for major labels including SONY, Deutsche Grammophon, Philips, and London Decca. From my perspective, the orchestra's consistent artistic growth and ever-expanding international reputation made my tenure an exceptionally rewarding time to be a member of the Metropolitan Opera Orchestra. - What is your favorite piece, or a piece you would have loved to play? In the symphonic realm, I especially enjoyed performing Mahler's Das Lied von der Erde, which we played many times. Its fusion of vocal lyricism, orchestral brilliance, and expressive depth made it an ideal work to showcase the strengths of the Met Orchestra. The richness of the operatic repertoire makes it nearly impossible to choose a single favorite. A few that stand out for me include the dark, expansive lyricism of Verdi's Don Carlo, the radiant beauty of Puccini's La Bohème, and the irresistible blend of comedy and profundity in Strauss's Der Rosenkavalier. Perhaps most of all, I cherished performing the operas of Mozart. To me, he was the composer who most clearly grasped the paradoxical complexities of the numan soul and miraculously gave them voice through his music. And as a flutist, of course, Die Zauberflöte will always hold a special place in my heart. - What is it like to experience your orchestra from the audience perspective? From my seat in the center of the orchestra pit beneath the stage, I was rarely able to see the productions. It is therefore a special pleasure now to experience the moment-to-moment interactions of the singers and, especially, to admire the beautiful playing of my former colleagues - without the constant concern of remembering when to come in. - Knowing what you know now, what's something you would have told yourself in the early stages of your career? For the sake of perspective, I would probably advise my younger self to attend more operas on his nights off. It was easy to become absorbed in the challenge of negotiating, say, Strauss's devilishly tricky flute cadenza in the first act of Der Rosenkavalier, while forgetting that Pavarotti was at that very moment sweeping into the Marschallin's boudoir to sing one of the most soaringly beautiful "Italian" arias ever written. 📸: Courtesy of Michael Parloff #operaorchestra #flute #classicalmusic #arts #concert #music #laborunion #musiciansunion #icsom #insolidarity #featuredorchestraoftheweek #nyc #themet #metoperamusicians (fb)

This week, we hop over to New York City to visit with our colleagues of The Metropolitan Opera Orchestra! Their season opens on September 21 with Mason Bates' opera "The Amazing Adventures of Kavalier and Clay," which they have already been rehearsing since this past Tuesday. They are also pleased to welcome three new members this year: Alexander Bickard (section bass), Peter Davies (principal oboe), and Nathan McKinstry (second trumpet). This orchestra performs many operas throughout their season and is one of just a few dedicated opera orchestras in the country. Principal second violinist and ICSOM Delegate Jeremías Sergiani-Velázquez shared he is looking forward to Tristan und Isolde, as it will be his first time playing it and he's always loved the music. They are currently working without a contract (the previous one expired on July 31st). While negotiations continue, it is always challenging to continue working without certainties. Please help us support them as their committee works to secure the best working conditions they can get! 📸: Jonathan Tichler #operaorchestra #violin #viola #cello #bass #flute #oboe #clarinet #bassoon #horn  #trumpet #trombone #tuba #timpani #percussion #harp #piano #classicalmusic #arts #concert #music #laborunion #musiciansunion #icsom #insolidarity #featuredorchestraoftheweek #nyc #themet #metoperamusicians (fb)