Last fall, you received the 2025 Jaska Award, which is given for being a great colleague, fostering a positive work environment, and other contributions that improve the workplace. Why are you such a great colleague?
I was truly surprised and grateful to receive the award. Personally, I think the reason is more about that “other factor.” I’ve always tried to view the work community as a whole and a unified entity, spoken up, and made suggestions for improvement. I’ve been outspoken—often way too much—but hopefully I’ve learned something along the way. I wish I had known how to be nicer.
You started as principal flutist with the Tapiola Sinfonietta in 1988. How did that come about?
That audition was the first and last one of my life—I got incredibly lucky. My studies at the Sibelius Academy were far from finished; a group of friends and I went to try our luck. The orchestra’s doors didn’t open for me quite so easily, though—the audition was extended so that the two of us finalists played several quintet concerts in front of an audience as part of the audition. The newspaper advertised “come to the audition concert,” and I even made it into a Hesari article as an example of the job-hunting process. I only really learned to play for auditions once I became a full member of the orchestra, in this amazing group.
How has the Tapiola Sinfonietta changed over the past nearly 40 years?
It’s easier to think of how it HASN’T changed. There’s a shared belief that we give the audience our best at every concert, and that music is the most important thing. We’re still a chamber orchestra, though a bit larger now than we were at the start. Pretty much everything else has evolved—in a good way.
What kind of legacy do you feel you’ve left the orchestra?
“Legacy” is a pretty dramatic-sounding word. My daughter is continuing in the orchestra, which is fun.
You were on the orchestra’s artistic leadership team until the end of last year. What is your absolute must-see from the 2026–2027 season’s program?
Of course, in my opinion, the entire season is incredibly diverse. But if I absolutely have to pick something, let’s go with Ryan (Bancroft)’s Fate. Our amazing partner, a conductor who doesn’t make a big deal out of himself. The Canteloube songs, which we recorded with Carolyn Sampson during the pandemic, but the concert never took place due to restrictions. Incredibly beautiful songs that you don’t often hear, and a magnificent soloist.
What do you plan to do in retirement with all the time freed up from your work as an orchestral musician?
That will be interesting to see. Hopefully I’ll continue teaching flute and chamber music, but I’ll also spend more time with my family. I play the drums and cook, write and knit, and try to take care of myself as well. I go to concerts and other cultural events.
