When and how did you first hear about the Luxembourg Philharmonic?
The first time I heard about the Luxembourg Philharmonic was during a broadcast of a concert on the radio. Mozart's Sinfonia Concertante was on the programme. But it was a very long time ago!
What motivated you to apply for a position with the Luxembourg Philharmonic?
At first, I hadn't explicitly thought about the Philharmonie Luxembourg and therefore sent out a lot of applications, only to receive a few invitations. After an audition in which I made it to the final, I was invited several times to help out and got to know the orchestra better. I was enthusiastic about the work and the atmosphere and it was clear to me that I would like to work with this orchestra (OPL) in the long term. The impact of Covid-19 has made it difficult, as many situations were not predictable or predictable. Nevertheless, I stuck to my goal. When a position in the orchestra was finally advertised, I applied straight away. It's a dream come true for me to now officially be part of the orchestra.
How did you feel when you got accepted?
It took me a while to realise it. I think it was because I had left all my energy, feelings and emotions on stage. Afterwards I had more of a mute feeling, but of course I was very happy! It was a gradual process until I could really grasp the magnitude of the moment.
Can you remember which pieces you had to play in your audition?
In the first round of the audition, I played Mozart's Concerto No. 5 and Sibelius' Violin Concerto as a romantic concerto. In addition to these, I also had to play standard orchestral pieces such as Strauss' Don Juan and the finale of Mozart's Symphony No. 39.
Is there a concert during your trial year which you remember particularly fondly?
One concert that particularly sticks in my mind was the one with conductor Jukka-Pekka Saraste, where we played Antonín Dvořák's Symphony No. 7. I also have very fond memories of the project with Sir John Eliot Gardiner: that was a very special experience for me. I really appreciate how many talented musicians and conductors come to us. This gives us the opportunity to learn a lot and play great programmes together.
Are there any works within the orchestral repertoire which you particularly enjoy playing?
I'm quite flexible. Of course, it's very interesting for me here (in Luxembourg, editor's note), as I played a lot in Germany. Here you notice differences in musical trends, i.e. which works are played most often. In contrast to Germany, for example, less Beethoven is played in Luxembourg, but more music by French or Russian composers. I really appreciate this diversity and have no preferences. I'm always open to new things.
When did you start playing the violin?
I started playing the piano at the age of 5 and discovered the violin at the age of 7. I attended a specialised music school where many of my classmates played the piano. I wanted to choose the piano but the teachers encouraged me to switch to a string instrument. I was initially very unhappy with this decision, but I have since become very happy with it.
What was the biggest challenge for you during the trial year?
Changing conductors was a particular challenge for me. Previously, I played in a German orchestra where the chief conductor was often present and so everything was a bit more predictable. Here at the Luxembourg Philharmonic, you are surprised every week. Every conductor interprets the same music in their own way, which is a great opportunity for me to improve my flexibility and adaptability.
What do you particularly like about Luxembourg?
I appreciate the atmosphere, as well as the food! What I also really like is the enormous appreciation for culture and music here. This raises the standard and you can also feel that during concerts.
