Question about MET 2nd position

robert_white · Heavyweight Member Joined: 19 Feb 2003 Posts: 1583

For Mr. Bond, if he has time to respond:

The ad for this position says 2nd (General). Would you be willing to elaborate at all as to what the specific duties would be? Does "General" mean "Utility" or anything like that? Just curious. Thanks!

Peter Bond · Posted: Thu May 13, 2004 7:07 pm Post subject:

We have 5 trumpet chairs: 2 principals (they play 1st, obviously), 2 second/general, one third.
Most of the time, we non-principals rotate playing second part because so many operas are scored for only two in the pit. There is also frequent onstage playing (Pagliacci, Boheme, Aida, Elisir D'Amore, Carmen, Meistersinger, etc.) and backstage work (Fidelio, Pique Dame, Traviata, Rigoletto, Nabucco, Don Carlo, etc.) We rotate that work as well, since it can mean extra pay for costume (onstage) work, or a very short evening (Traviata and Rigoletto backstage bands).
When the pit orchestration calls for three or more, the third player covers that part since it is sometimes somewhat independent or soloistic (Britten, Strauss, Wagner). The third player will also play 1st trpt on 2 cornet/2 trumpet operas (Othello, Eugene Onegin, Troyens).
The advertised position is actually the one I've had for 10 years; I moved over to third after Jim Pandolfi retired.
Positives: Good colleagues (the most important factor, IMO), a great orchestra, great music, summers off, good but not fantastic bread (cost of living).
Negatives: Heavy work load and long hours (operas are long; our average violinist for example, works 200 hours more in a year than a NY Phil violinist), relative anonymity (the singers are the stars here - we're in a pit). We also play a regular series of symphonic concerts at Carnegie Hall and sometimes tour as "The MET Orchestra," but the gig is 98% opera. If you have a big ego and must have that limelight, this probably isn't the job for you.
I hope this answers some questions.
Peter Bond

robert_white · Heavyweight Member Joined: 19 Feb 2003 Posts: 1583

Mr. Bond,

Thanks so much for the information!

romey1 · Heavyweight Member Joined: 11 Jun 2003 Posts: 797

Interesting, the Chicago Lyric guys have it in their contracts that they never have to play the onstage and offstage parts.

romey

Mikeytrpt · Posted: Fri May 14, 2004 1:03 pm Post subject:

Romey, that sounds like a great deal for the Chi-Town freelancers, as long as you don't mind costume and makeup...........

Mike

trombapaul2 · Posted: Mon May 17, 2004 10:22 am Post subject:

Mr. Bond,

I don't suppose you're in a position (or inclined) to post the audition list?
I'm sure many players here would be interested in seeing what gets asked
for on a non-Symphony Orchestra list.

Paul
_________________
"NEVER practice...ALWAYS perform" (Bud)

"NEVER look at the trombones...it only encourages them" (R. Strauss)

"What the hell does sound have to do with music?" (Charles Ives)

Peter Bond · Posted: Mon May 17, 2004 8:56 pm Post subject:

>I don't suppose you're in a position (or inclined) to post the audition list?
>I'm sure many players here would be interested in seeing what gets asked
>for on a non-Symphony Orchestra list.

I could, but I doubt it would mean anything to you unless you had the opera scores in front of you, or were very familiar with the repertoire. Excerpted works include Rigoletto, Nabucco, Don Pasquale, Lohengrin, Wozzek, Parsifal, Walkure, Troyens, Fidelio, Salome, Arabella, and Lady Macbeth of Minsk. All players invited were sent photocopies of the requested excerpts. The first movt. of the Haydn trpt concerto (performed on Bb trpt) is also required. About 30 excerpts more or less.
When I first auditioned here in '92 (for 2nd/utility), they sent me the excerpts, which I studied along with recordings and scores to learn the licks and their context in the operas. It was very straight forward. Same deal this time around.
Auditions for the Met orch. are behind a screen from beginning to end (would that all auditions were).
Peter Bond

patrick32378 · Posted: Mon May 17, 2004 10:26 pm Post subject:

Yeah, I don't suppose either...???

blumine · Regular Member Joined: 17 May 2004 Posts: 54

Mr. Bond,

Since all candidates are behind the screen, how does the committee knows if someone is using one of those big-ass bell, Schilke Eb, 4 valver or some other non- Bb horn ? Also, could you tell us some of the things that commonly get people eliminated from each round - besides the obvious cacks, time and intonation issues, and so forth ? Thank you very much. All of your comments have been tremendously helpful.

blu

[ This Message was edited by: blumine on 2004-05-18 14:49 ]

[ This Message was edited by: blumine on 2004-05-18 14:49 ]

Peter Bond · Posted: Tue May 18, 2004 7:26 pm Post subject:

Regarding the Haydn on Bb or Eb; you can tell. Just in case however, there is a proctor with each candidate to whom we've given a life-size photo of an actual Bb trumpet.
The criteria are the same as for any orchestra audition; play in tune, in time, with correct pitches and rhythms (extra credit for dynamics and style, of course). As a guest conductor here recently said to a wayward singer during rehearsal: "Don't get all 'musical' on us, just sing in time."
Peter Bond

patrick32378 · Posted: Wed May 19, 2004 1:28 am Post subject:

haha

Peter:

Hearing that quote makes me think...are you musically fulfilled by playing in the pit? Hearing a comment like that might discourage some people..ok..me.

[ This Message was edited by: patrick32378 on 2004-05-19 04:29 ]

trumpetmike · Posted: Wed May 19, 2004 3:03 am Post subject:

Having attended Brian Evans' talk last year on Operatic Trumpet playing, at ITG 2003, he talked a great deal about the role of the player. Those that are interested may want to check out the write up
http://www.trumpetguild.org/2003conference/thur/210.html
It was a fascinating insight.

surfhorn · Posted: Wed May 19, 2004 6:36 am Post subject:

Peter - Thanx for your candid comments. While I do not perform this genre of music, your thoughts are invaluable for all trumpeters. Your behind the scenes look at one aspect of the trumpet players profession truly benefits those trumpeters who aspire to move to the top level one day.

-Dan

trombapaul2 · Posted: Wed May 19, 2004 6:57 am Post subject:

Peter Bond · Posted: Wed May 19, 2004 8:48 am Post subject:

Hi Paul.
Re the Bb, I suppose it's a case of Apples and Apples; everybody playing the same thing on the same horn. The Haydn on Bb is also pretty revealing, both musically and technically; you can't 'lean' on the horn as much as with an Eb.

As far as the conductor/singer interchange is concerned, following the singer all depends on the context. In this case, the conductor was (good naturedly, I should add) reminding the singer that she was straying a little in a very complex work (Ariadne auf Naxos, I think). If we're doing La Boheme or Traviata, where the orchestra is very much in an accompanying role, the maestro will usually indulge the artist on stage. But in a dense work with a lot going on and big ensemble coordination issues, everyone has to work to be with the podium or the result is a mess. I suspect also, that the conductor wouldn't have been as flip if he were addressing a major star like Deborah Voigt or James Morris.
I only related the story to point out that when preparing an audition we players often get wrapped up in esoteric minutiae and miss the goal (such as: "How does the tune go?").
Peter Bond

pitchlevel · Posted: Wed May 19, 2004 5:45 pm Post subject:

hi all, and especially peter, we met years ago when i studied with mel, though im sure you wouldnt remember me. concerning the question of rotary vs piston for the haydn, i heard a rumor that last years principal winner balasz nemes played the entire audition, all rounds, on a rotary trumpet and nobody was any the wiser. any truth to that? just curious. see you at the audition!

trumpetdon · Veteran Member Joined: 28 Sep 2003 Posts: 361

Is this audition "open" in the sense that all who submit a resume will recieve an audition time, or are applicants pre-screened with resume and requests for tapes?

Peter Bond · Posted: Thu May 20, 2004 3:48 pm Post subject:

To answer two queries in one post:
First, Balasz Namas did indeed win the principal audition playing rotary instruments, but resigned after a short while, sensing that he and the job were a poor fit.

Second, the Met orch. does screen resumes. Players with little or no experience may be asked to send a tape. It saves time and money for everyone involved. Anonymity is maintained in the tape round (names are removed and numbers are assigned by the audition coordinator). Players whose tapes show promise are invited.
Peter Bond