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I don't know what the chances are that an outstanding member of an orchestra will go on to have a solo career. I know that many famous soloists were or still are leaders of orchestra sections. I am not sure how these or many other famous female (or male) artists became successful recording artists, especially violinists.
So I am not schooled in the procedure whereby talent is rewarded with opportunity. I suspect that, in the present state of the classical music industry and the music industry in general, the potential is smaller than ever before.
However, I have heard, in my local orchestra, a concertmaster who is outstandingly talented and deserves a shot at a solo career if her desires point in that direction. I have attended symphony concerts here and elsewhere for more than 40 years, and she is by far the most talented concertmaster I have ever heard. Her efforts are now highlighted in reviews, even when playing in concerts with famous soloists on other instruments. Last night the featured soloist was Olga Kern, and she received due praise for her performance of Rachmaninoff 1, but the reviewer also highlighted the playing of Naha Greenholtz in portions of the orchestral program (Swan Lake). I must agree that, whenever her playing is featured (Scheherazade last year, Zarathustra this year), she acquits herself in better fashion than some "star" violinists I have heard. Her tone is sweet and her readings are full of emotion and life. She is young and physically attractive, a qualification that is frequently noted here and required throughout the industry, for good or bad. And, man, she can play. I'd rather hear her than HH, for example. I predict and hope that someday you will be able to hear Ms Greenholtz for yourselves on a major record label, perhaps not as a soloist, but at least as part of a famous ensemble . I can say with certainty that she won't be leader of our very high quality but admittedly small-time Madison symphony for very much longer. Talent of this caliber does not go unnoticed, and she will be swept off to LA or Chicago or NY.
Peace,
Tom E
Follow Ups:
Hi Tom - another point to be made about the whole concertmaster thing is that once a great violin player becomes a concertmaster, they don't usually ever go back to being a section player. In other words, your Madison Symphony concertmaster probably won't move on until she could get another concertmaster job somewhere else; and she will have to wait for one to come open, and then audition for it, etc. She would most likely not make a move to a section job in a much bigger orchestra, she would probably wait for a concertmaster opening. It is not a question of "waiting for her talent to be recognized" - clearly it already is. She will still have to wait for an opening and then win the audition.
Thanks for the heads up - we'll be on the lookout for her! BTW, is this her:
?
Sometimes, some orchestral players have solo careers (of varying success) before and during their orchestral careers too. (See the end of my LPO post below - it's true for both of the players I mentioned.)
Thanks a lot for posting that. You are on the ball. I didn't know such a magazine existed.
I also did not know she already has a major profile. Great to see young talent recognized. It's nice to have my opinion (and many others') validated.
Peace,
Tom E
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