Auditioning the Audition Process

Jan 26 2007
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Tanya Ell
Tanya Ell

28-year-old cellist Tanya Ell has proven her impressive musical range and abilities, as soloist and chamber musician, on stages around the globe. Currently the youngest cellist in the Cleveland Orchestra, Ms. Ell has already performed with such notable musicians as Edgar Meyer (in Schubert's "Trout" Quintet at the Banff Centre), the Juilliard and Miró String Quartets, and Anthony Marwood of the Florestan Trio. She has appeared as soloist in the Saint-Saens Cello Concerto with the Aspen Festival Orchestra, conducted by Lynn Harrell; last season she performed the C.P.E. Bach Double Concerto with the Milwaukee Symphony, where she was Assistant Acting Principal Cellist from 2003 to 2006. Ms. Ell's concerts have taken her to Germany, France, Italy, Mexico, Barbados, and many parts of the United States and Canada.

A child of two musicians, Ms. Ell began the cello at age four, studying with Louis Potter Jr. in her native Michigan. Among the eminent musicians she worked with as a student are Yo-Yo Ma, Janos Starker, Lynn Harrell, Richard Goode, and Robert Mann. (*see below) Ms. Ell subsequently went on to the Juilliard School in New York as a scholarship student of Aldo Parisot, receiving her Bachelor's Degree in 2000. While in New York, she performed in such prestigious venues as Alice Tully Hall, Avery Fisher Hall, and the Merkin Recital Hall. In addition, she was a member of the Vaux Quartet, often representing the Juilliard School in concerts around the country. The Quartet was also chosen to perform at the school's commencement ceremony, an honor given to only one student group each year. Outside of her soloistic pursuits, Ms. Ell also gave dozens of concerts in hospitals, nursing homes and inner city schools in New York as part of her commitment to community outreach.

Ms. Ell completed her education with Shauna Rolston in Toronto, and with Richard Aaron at the Cleveland Institute of Music, where she received her Master's Degree in 2003. She currently resides in Cleveland with her two cats, and plays on a cello made for her in 1992 by David Burgess.

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I smile when I am asked the one million dollar question, “is our audition process fine the way it is”? I have learned to live with this process; it is a challenge that I have become accustomed to as a person who has taken her share of auditions. Still, it is impossible to say “yes” and leave it at that. I believe that it is true that orchestras most often find people who are able to fill their jobs quite well. Is this a perfect process? I would find it a challenge to find one person on either side of the screen who is completely satisfied.

It is of utmost importance that organizations as large-scale as symphony orchestras do not become entrenched in their ways simply because it is too complicated to do otherwise. The audition process has evolved to where it is today, and there is no reason why it shouldn’t continue to evolve through careful thought and analysis. It is clear from the sheer volume of thoughts and responses in this forum that there is room for change.

To fully answer Robert Levine’s final challenge, I would change the preliminary round of the audition in the following way. Everything would remain the same, except one would find three quarters of a string quartet on one side of the screen. A candidate would be ushered in and play ten minutes worth of chamber music. I firmly believe chamber music does not just test a musicians ability to “solo with in a group”, but shows a candidates ability to follow others, have a knowledge of what to listen for, and know the function of their line. The orchestra musicians in the quartet would rotate throughout the day, and I think might even enjoy themselves throughout the process.

I would like to thank the moderator and other panelists for the opportunity to take part in such an important discussion.

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Tanya Ell
Tanya Ell

28-year-old cellist Tanya Ell has proven her impressive musical range and abilities, as soloist and chamber musician, on stages around the globe. Currently the youngest cellist in the Cleveland Orchestra, Ms. Ell has already performed with such notable musicians as Edgar Meyer (in Schubert's "Trout" Quintet at the Banff Centre), the Juilliard and Miró String Quartets, and Anthony Marwood of the Florestan Trio. She has appeared as soloist in the Saint-Saens Cello Concerto with the Aspen Festival Orchestra, conducted by Lynn Harrell; last season she performed the C.P.E. Bach Double Concerto with the Milwaukee Symphony, where she was Assistant Acting Principal Cellist from 2003 to 2006. Ms. Ell's concerts have taken her to Germany, France, Italy, Mexico, Barbados, and many parts of the United States and Canada.

A child of two musicians, Ms. Ell began the cello at age four, studying with Louis Potter Jr. in her native Michigan. Among the eminent musicians she worked with as a student are Yo-Yo Ma, Janos Starker, Lynn Harrell, Richard Goode, and Robert Mann. (*see below) Ms. Ell subsequently went on to the Juilliard School in New York as a scholarship student of Aldo Parisot, receiving her Bachelor's Degree in 2000. While in New York, she performed in such prestigious venues as Alice Tully Hall, Avery Fisher Hall, and the Merkin Recital Hall. In addition, she was a member of the Vaux Quartet, often representing the Juilliard School in concerts around the country. The Quartet was also chosen to perform at the school's commencement ceremony, an honor given to only one student group each year. Outside of her soloistic pursuits, Ms. Ell also gave dozens of concerts in hospitals, nursing homes and inner city schools in New York as part of her commitment to community outreach.

Ms. Ell completed her education with Shauna Rolston in Toronto, and with Richard Aaron at the Cleveland Institute of Music, where she received her Master's Degree in 2003. She currently resides in Cleveland with her two cats, and plays on a cello made for her in 1992 by David Burgess.

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