Live interview with Chelsea Knox, principal flute of the Metropolitan Opera in New York

#flute #chelseaknox
Chelsea Knox, principal flute of the Metropolitan Opera in New York joins us for an interview. We talk all about flute and more!
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Principal Chairs is an exciting new online resource for the study of orchestral repertoire - an online excerpt book with fantastic extras! We provide free sheet music and orchestral audio recordings (thanks to Naxos) of the most prominent and important solos in the repertoire. These are FREE for everyone to use and are right there next to each other on one page, making your preparation for practice much quicker. Most importantly of all we are working with leading international orchestral artists to provide educational, informative and inspiring pre-recorded video lessons, which you can view as many times as you like once you subscribe. Michael Cox (principal flute of the BBC Symphony Orchestra and professor of flute at the Royal Academy of Music, London), our Artist in Residence, has already recorded many video lessons which you can learn from and enjoy. We\’re also busy working with many other top artists on additional video lessons so you can expand your knowledge of the repertoire by listening to their contrasting opinions.
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0:41 What is your method for preparing for auditions? 5:20 Should a player adapt their playing for a specific group or hold on to their individuality? 7:05 Importance of throat tones? 9:15 How is playing in an Opera Orchestra is different from a Chamber or Symphony Orchestra? 12:01 On your website I saw your artwork, which is really beautifull. Would you say your art is inspired by you music or vise versa? 14:09 Do you think the MET Archive broadcasts are a good substitute for live performances? 19:10 What aspects of flute playing provide the most challenge when working orchestrally? 23:09 What is your most memorable moment at the Met so far? 24:20 Any unexpected repertoire that flute players should have a look at? 25:42 For a student, how would you advise to make the most of their time studying? 28:41 What do you think the post covid music world will look like? 29:52 What kind of flute do you have? 31:12 Can you tell us about your auditioning experience? 33:41 How would you compare your roil in a symphony versus in an opera orchestra? 34:58 What would you say are differences in your opinion in USA orchestras and European orchestras? 38:40 Could you talk about haw you stayed positive and believed in your self as a student? 41:34 Are there any operas that you haven't had the oppurtunity to play that you would like to? 43:59 Have have you spent your time during the pandemic? 45:36 Of all the operas that you have played so far at the Met, which one did you find the most enjoyable? 48:26 Are you allowed to read a book in the pit? If so, what have you read? 49:31 Who was been the easiest conductor to play with? 50:42 If you had one piece of advice to yourself as a student, what would it be? 51:23 What are you favourite warm-up exercises? 52:50 What do you look for in a player when you're on the audition panel? 54:47 Do you have any preference to silver, gold, platinum or wood flute? 56:22 What do you hope that the classical music industry will learn form the pandemic?