The "Listen to Musicians" section is a section where professionals who usually play music on the stage go down the stage and speak in words.We would like to interview Risa Oshima, who is active in the Paris Opera Orchestra, as a guest. I would like to talk about the theme of "studying abroad in music."
(Interview: March 2009)
-Profile of Risa Oshima-
Risa Oshima
After working at Toho Girls' High School Music Department, completed the Toho Gakuen University Soloist Diploma Course.Studied under Felix Andrievsky and Thomas Zehetmair at the Royal College of Music graduate school as an overseas trainee of the Agency for Cultural Affairs.While attending school, she won all awards for violin, including the first female Yehudi Menuhin Award.Received scholarships from the ROHM Foundation and others, and graduated with the highest score ever.He has won numerous competitions, including winning the 18th Lipizer Prize International Violin Competition.Co-starred with the Romanian Moldova Symphony Orchestra, Sendai Philharmonic Orchestra, and many other performances at music festivals. After working for the Rheinland Palatinate Philharmonic Orchestra in Germany in 2002, he joined the Paris Opera Orchestra in 2003.Also, as the principal player of the London Philharmonic Orchestra, he participated in regular performances at the Royal Festival Hall.Based in the Paris Opera, he is developing various activities as a soloist and chamber musician in various parts of Europe.Currently living in Paris.
-First of all, please give us a brief background.
After graduating from Oshima Toho Girls' High School and completing the Soloist Diprima course at Toho University, I studied abroad at the graduate school of Royal College in the United Kingdom.After that, I entered the Rheinland Palatinate Philharmonic in Germany, and after that I was enrolled in the Opera House in Paris and continue to this day.
-It's a wonderful career.What made you decide to study abroad in the UK?
Oshima I have a sensei who wants to go to England.He was Felix Andrievsky sensei.
-How did you meet that sensei?
Oshima Originally I wanted to study abroad.Actually, at first I wanted to get to the Austrian sensei I met at the seminar, but that person got sick ...So I started looking for it again, but I happened to take an international competition at that time.There, I met a person who had a wonderful performance in the same competition, and that person was learning Andrievsky sensei.So, I was interested in sensei, and when I contacted him, he told me to come to the class, so I participated in the summer class.That was the trigger.
-What made you interested in music in the first place?
Oshima: Rather than being interested in the violin myself, when I was in kindergarten, my parents wanted me to learn something ...There was a child in my neighborhood who wanted to learn the violin, so I started with him.And when I started learning the violin, I had the opportunity to go to a violin concerto concert, and I thought, "I also want to be a violin player."
-After that, you've been learning the violin all the time, and you entered a music school from high school.Do you have a big influence from your parents?
Oshima: No, my parents weren't involved in music at all, so I didn't have any music around me.I didn't like special music, it was just a lesson.
-There was a violin by your side, not a piano.
Oshima When I was in elementary school, I was told that I should also learn the piano, and I actually learned the piano, but I didn't like it and immediately quit (laughs).
-Please tell us about the pros and cons of each country when studying classical music overseas.
Oshima When it comes to England, it's the center of the world, or a big city, so the concerts of top musicians are somewhere every day, which is inspiring.However, unlike New York, the time is fast and not everyone is working hard, so there is a calmness that is typical of Europe.So it was a good environment where I could learn music comfortably while being stimulated.
-What's wrong with that?
Oshima For example, when it comes to schools, Royal College (Editor's Note: Royal College of Music), Academy (Editor's Note: Royal Academy of Music), and Guild Hall are famous. It was rare to be given things.Toho is a large organization, and I had the opportunity to invite sensei from abroad to take lessons every year, which is called a public lesson.There are also many records and materials in the library.That wasn't the case in England.Rather, I had a lot of such experiences at Japanese schools.
-Surprisingly, I thought the UK had a better system.
Oshima: It's Japan that receives a lot of stimuli from the outside at school.
-At Toho Gakuen, there are many students who go abroad in particular.
Oshima: You're active as a school, aren't you?The amount of information was also very large.
-How about Germany?I heard that you were in the orchestra.
Oshima I don't go to school, so I don't know the education method, but there is no big city in Germany.It feels like medium-sized cities are scattered and each has a lot of orchestras.The city and music are in close contact.Rather than being stimulated from the outside, it feels more like building music as part of a life that is in close contact with the city.Therefore, orchestras often go to other cities in the state to perform concerts.It's like delivering music to everyone.
-On the contrary, is there any point that this is a difficult part?
Oshima Germans have similar temperaments to Japanese people, so I didn't feel much dissatisfaction.However, I've been living in big cities like Tokyo and London, so I couldn't stand living in Germany, where the city isn't very stimulating.It's a great place to play music steadily, but if you want to enjoy it other than that, it's a little ... (laughs)
-It's important to change your mood.You are in Paris now, is there any difference?
Ojima Paris has various cultures.Not only music, but also art, food and fashion.That's why it's very inspiring.For example, whether it's food or painting, the fact that you always express yourself somewhere and the delicate sensibilities are common to music.
-It's the city of art.On the contrary, what's wrong?
Oshima French people think that their country is the best, so it's rare to accept anything from the outside.In other countries, there are many famous schools in music colleges, but in France there is only Conservatoire.The orchestra also feels like there are no other graduates there, so in the end the methods are also biased, and in that sense I think it's closed.
-It seems that there are times when you don't speak French unless you understand it.By the way, do you speak French?
Oshima I'm still struggling (laughs).
-It's interesting because each country is different.It was sensei that made you decide to study abroad in the UK, but did you also have the atmosphere of the city?
Ojima Certainly there was also the size of the city.I think that the bigger the city, the more stimulating it is, and the more opportunities I have to listen to concerts and play.
-Have you been given the opportunity to perform since you were a student?
Oshima Yes, that's right.
-Isn't it like you've learned more than just studying?The UK is famous for three schools: Guild Hall, Royal College, and Academy. Is there any advantage for those who leave the school to get a job?
Oshima: I don't think there are any advantages or disadvantages depending on the school from which you were born, but I think there are territories for concerts at that school.For example, in college, there are opportunities to perform with on-campus orchestras, concerts at several large churches with which we have contracts, and the British ambassadors around the world that Jaguar, an automobile company, has given to its customers. College people were sometimes dispatched to concerts at the museum.I think there are many such opportunities in large schools.
-In Japan, educational background and school name may be related to employment.
Oshima I think England is an experience.So, just leaving school doesn't give me a job at all.Experience is important, such as where he played, where he played, and in which orchestra he played.
-You are active in Germany and France. Do you have any advantages or disadvantages for Japanese people?
Oshima There are few advantages, but ...I think that the strength of the core and the sensibility as a Japanese person are completely different from those of Europeans.I think it will be advantageous if you can make use of it as a character.
-Will it lead to the conditions for success as a professional musician?So what are the disadvantages?
Oshima: Every country values its own people, so if you have the same level of performance, you may hire people from your own country.
-What is important in such a situation?
Oshima: I think personal connections are also important, but that's a field I'm not good at ...I think it will be important to be able to trust people, such as by taking a serious attitude.
-If you don't have a relationship of trust, you won't be able to work.Do you show it with technology in such a case?Not words.
Oshima Is it still technology?After all, no matter how much you insist in words, if you play it, you can see all the humanity and so on.After all, I have to express myself by playing.
-In that way, if you can tell that this person has such a good thing, not a good or bad technique, will you accept it?
Oshima I think it depends on the orchestra, and I think there are also tastes.You will be evaluated where it suits you, and if you don't, you will not be evaluated no matter how good you are.That's the edge, isn't it?
-Did you audition for various orchestras?
Oshima Yes, I received it.
-Is it tough?There is an image of a ton ton beat.
Oshima: It wasn't a ton ton.At first I wanted to work in the UK, but in the UK the government doesn't give me a work visa even if I'm allowed to join the orchestra.Because of that, I couldn't even try it, so I ended up going to the continent.
-That's right, it's hard to get a visa in the UK.
Oshima: I was told that it was absolutely impossible.The conditions are getting stricter.
-It's awkward that problems arise not only in music but also in paperwork.
Oshima: I was often worried about the fact that I couldn't help myself.
-It's about the system.Do you have a desire to work in the UK someday?
Oshima: About two years ago, I felt strongly that I wanted to go back, so I once went to the London Philharmonic Orchestra.I've been working for a while, but the amount of work is huge ...In England, everyone is freelance.That's why it's not a monthly salary system, so if you take a rest, you won't get a salary.It's a difficult place to live, there is a lot of pressure, and there is a lot of stress ...
-There was a gap between ideal and reality.
Oshima That's right.I want to live in London, but I thought it would be easier to work in France.
-How easy is France to work?
Oshima: The workers are very well protected, so you can work with great peace of mind.Holidays are guaranteed, and even if you get sick, the government will guarantee it.In that sense, you can work with music with peace of mind.
-surely.I saw it on TV once, but I thought it was amazing because the ballet company said that the future was guaranteed.What about Germany?
Oshima Germany is doing well, as much as or better than France.
-It's still the city of music. Oshima is active in various countries, but what made you interested in France?
Oshima This is also really an edge.At first, I wasn't interested in France at all, and even when I applied for various orchestras, I was only excluding France.
-Is that so!So why in France?
Oshima: I thought Germany would be a good choice for me, but when I went there, my life was too boring ...It doesn't fit here too much.Then, it was summer vacation soon, so I took advantage of that vacation to go to a class in France.Even though it was a rural town in France, it was gorgeous and there were many shops, so I thought it might be fun.
-That was the trigger.
Oshima: At that time, I learned from French sensei, who said, "Isn't it okay to come to Paris?"Then, it happened that there was a vacancy in the opera, and there was an audition about two months later.That is why I received the French orchestra for the first time.
-I think that's the connection.By the way, where was the class?
This is Nancy Oshima.
With Pierre Boulez
-I don't know where or what is.life.
Oshima: As I knew when I went there, the French orchestra is only for those who have graduated from a French university, and there are almost no foreigners taking the exam. ..In particular, I took the exam even though I didn't understand French at all, so I was surprised at the opera.I don't know anything even if I explain various things, and I don't know if I accepted or failed (laughs).After the exam was over, I was taken to a room, and when the judge said, "Congratulation!", I wondered if I was accepted (laughs).
-Was it in English?
Oshima Yes.The music director at that time was American.Then I was asked, "Which country do you speak?" (Laughs).After all, I'm the only one in the opera who hasn't studied at a French school.
-It is wonderful!I think it was chosen because there was something that shines.
Oshima There may have been something in common with the music of the Opera.
-Is communication in English and French?
Active at the Paris Opera
Oshima: With a smile ... I don't understand English communication (laughs).For the time being, just remember the number.That's because the conductor always says, "From what measure.", So I remembered that.
-Even if you can't speak the language, there must have been something that made you want to hire Oshima.
Oshima: When I think about it now, I am grateful that he did it very fairly.I think there is not only ability but also timing and luck.
-I see, you went to Paris in that way.It's very interesting.
Oshima: It feels like it's being swept away.It's a coincidence, isn't it?
-What are the conditions for success as a musician in France?
Oshima: Will I not lose myself after all?If you have various opinions and hear various things, you may be swept away.But it's important to always have what you want to do and not lose yourself no matter what.
- Oshima, if there is something different from what sensei says, am I the type who insists on doing this?
Oshima When I was a student, I thought that sensei was absolutely obedient to sensei.So, when I was told something, I thought I was wrong.However, when I think about it now, there are things I need and things I don't need, so I think it's okay to eliminate them if you don't need them.
-Students are learning, so it's important to listen to sensei.
Oshima: I wasn't confident in myself, so I didn't know if my claim was correct.
-So, it may be a difficult question, but what is classical music for Oshima?
Oshima: In my case, music is nothing but classical music, and I didn't have any other music in my life.Rather than what classical music is, music for me feels calming and expressing.
-Is that so.Then, if you have any future prospects or dreams as a musician, please tell us.
Oshima: Right now, I'm busy with orchestra work, but I'm getting used to it, so I hope I can focus on myself and expand my solo and chamber music activities in the future.I hope I can work with various people not only in Japan and France but also in other European countries.
-Are there any plans for the future?
Oshima There is nothing in particular, but I think there will probably be a chamber music concert next year.
-I think you are busy, but please take care of yourself and do your best.Finally, please give some advice to those who are thinking of studying abroad.
Oshima After all, I think that there are many difficult things to do, but I think the most difficult thing is to experience loneliness.Even in such a case, I want you to believe in yourself and do your best while thinking about what you want to do.It's quite difficult to be busy with everyday life (laughs).
-Looking at Oshima's success, I think that was really important.Thank you very much for today!
Blog "News from the Palais Garnier"
http://lisaoshima.exblog.jp/
Concert information
November 2012, 11 Vienna
-Poster
-Program
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