By Mi Wan Layane Non Rot
Classical music orchestras are often criticized as being boring or unable to truly engage their audiences. I strongly disagree with this perspective and will always advocate for the depth, beauty, and emotional power of this music. This paper serves as a reflection of how I personally experience classical performances, as well as a review of the Opera concert I attended in 2026. That experience not only broadened my understanding of classical music, but also inspired me to further explore its various periods, genres, composers, performance styles, and the historical context behind each piece.
The concert I attended was called ‘Opera in Concert’ performed by the MSM (Manhattan School of Music) Symphony Orchestra and MSM Opera Theatre. The concert was held on Feb 25, 2026. The orchestra was conducted by Vinay Parameswaran and stage directed by Felicity Stiverson. The program was presented under the leadership of JT Kane, Dean of instrumental studies and Orchestral Performance, and Carleen Graham, Dean of Vocal Arts and Collaborative Piano. Their roles and professional experience suggested a high level of training and clear artistic intention. One violinist, Associate Concertmaster, Seoyoung Jang, stood out to me. Positioned near the front center of the orchestra, she naturally drew my attention, and I found myself closely watching her hand movements throughout the performance.
The concert took place in a formal concert hall that felt both intimate and welcoming. The size of the venue, along with my seat being very close to the stage, allowed me to clearly see the performers and feel connected to the music. The audience turnout was strong, and the environment struck a balance between seriousness and accessibility. Everyone from the staff team did their individual roles so well including handing out pamphlets and assisting to the audiences’ seats. This also adds to why the atmosphere was more inviting than I had imagined.
The program opened with D’un matin de printemps by Lili Bolanger. The music felt light and energetic, with flowing melodies that created a sense of movement and brightness. It gave me the impression of a fresh beginning, almost like the feeling of spring itself. It was a suitable piece to open an orchestra concert. I found it engaging and easy to connect with emotionally.
The next piece, Symphony No.1 in One Movement, Op.9 by Samuel Barber, left a noticeable shift in tone. I remember how this work felt more intense and serious, with darker harmonies and a stronger emotional weight. It is structured as a single continuous movement, lasting more than 10 minutes. One detail I found interesting was how musicians turn their sheet music during a performance. I had always wondered how they did this without interrupting the flow of the music. During this piece, I noticed a player briefly pause to flip the page, which answered my long-standing question. It did not disrupt the music, as other musicians continued playing the same part. Moments like this made me appreciate the coordination behind a live orchestral performance.
The final portion of the program featured selections from Carmen by Georges Bizet; performed in collaboration with the opera theatre. They played the famous “Toreador song”. This was the most immediately engaging part of the concert for me. Even without knowing the full story of the opera, I could sense the emotions and relationships between the characters through the stage presence. The energy of the performance felt bold and dramatic. And the music supported that sense of confidence and tension.
The stage direction throughout the concert was simple, but it worked really well. The performers mostly stayed in their positions the entire time, but the way the orchestra was arranged made it easy to follow. The violinists were placed toward the front and center, which naturally drew my attention, while other sections like the cellists were nearby. Woodwinds and brass instruments, including the clarinet and trumpet, were positioned more to the sides, with larger brass instruments like the horns were further in the back. This setup created a clear visual structure across the stage. As a result, I could easily shift my focus depending on which section was playing without feeling lost. It felt organized in a way that quietly guided the audience, making the whole performance easier to watch and enjoy.
Throughout the concert, the performers demonstrated a high level of skill and coordination. The orchestra played with precision, and the conductor guided them effectively, maintaining cohesion across very different styles of music. The musicians were formally dressed, which contributed to the traditional tone of the event, yet their performance itself felt expressive and engaging. Although there was little direct interaction with the audience, I did not feel that it was necessary, as the music itself communicated clearly.
Another perspective that stood out to me was that the instrumentalists were students. Knowing this made the performance even more impressive to me. The level of precision, coordination, and confidence they showed felt very professional, and it was hard to believe they were still in training. Watching them perform made me appreciate how much practice and dedication goes into reaching that level. Such perspectives made me admire the performers more and made the experience more inspiring,
Overall, this concert was an enriching experience that changed my perspective on classical music performances. Even without prior familiarity with the pieces, I found the program engaging and emotionally varied. It was very interesting to follow the hand movements of each instrumentalist. Even the brief break the conductor took between pieces was fascinating, and his return after each pause became something I look forward to. Not to mention, the combination of orchestral and operatic elements created a balanced and cohesive experience.
In conclusion, despite its short play time, this event exceeded my expectations and reinforced my belief that classical music is far from boring. Instead, it can be deeply engaging, even for first-time listeners. This experience has encouraged me to continue exploring classical music and to attend more live performances in the future. To date, I have been able to distinguish the different periods and genres of classical music and learnt about the famous composers and their well-known pieces. I would confidently recommend a concert like this to others especially those who may be new to the genre.
Works Cited
2015-24 West Morris Regional Orchestras & Symphony (2021, Nov). 2021 November Concert: Orpheus in the Underworld Finale, by J.Offenbach, arr. S. Dackow. https://www.youtube.com/watch?v=Q6njxMYnhSc&list=RDQ6njxMYnhSc&start_radio=1
Abigail Fagan (2022 Jul 6). Behind the Psychological Scenes in the Opera “Carmen”. Psychology Today.https://www.psychologytoday.com/us/blog/life-is-a-trip/202207/behind-the-psychological-scenes-in-the-opera-carmen
David Gilbert (2026). Symphony No.1 in one movement, op.9. Tucson Symphony Orchestra. https://www.tucsonsymphony.org/program-notes/barber/symphony-1/
Michael Clive (2021 Apr 30). Composer Georges Bizet(1837-1875) and His Carmen. Utah Opera.https://utahopera.org/explore/2021/04/composer-georges-bizet-1837-1875-and-his-carmen
Suzanne Whitney (2022 Mar 29). Carmen 101-Characters and Plot. Opera Colorado. https://www.operacolorado.org/blog/carmen-101-characters-and-plot/
