Watanabe Reiko, 37
International Concert Violinist
Could you describe your occupation?
I play the solo part of concertos with orchestras. I go to different cities and play with different orchestras, and give recitals with pianists. I probably like playing concertos best. I play all over the states, Europe and of course Japan.How was your early life learning violin?
When I was one my mother took me to a violin class—in diapers! I have a clear memory of that day, somehow. I told my parents I wanted to play, and did start at three and a half, and never stopped. At first it was like a toy, a fascinating toy. Even before that mother provided me a prenatal experience, listening to the violin. Father loved music very much and wanted to be a pianist, but neither of my parents were musicians. I became professional after I won a national competition in Japan at 15. That was the youngest age.What’s your preparation for a performance?
I play with the orchestra and rehearse the day before. Then there’s a general rehearsal the day of the performance. Of course every day I have to practice—at least five hours a day, or more. I don’t drink alcohol, and stay away from caffeine, especially the night before a performance. I try to skip the parties as well. I must put all my concentration into the performance. When I have a tour, I’m overexcited after the event, so I always carry a book, so I can switch modes. I used to enjoy burning
energy at a restaurant after, but these days I save energy with a book.Do you have advice for aspiring musicians?
First, you have to have talent. Then there’s usually no problem. But too much pressure can be a problem. Take the star Midori for example. She was going through different stages, always under pressure. Her parents were musicians. She became bulimic. It’s better to avoid extreme situations and expand your life to other directions.Do you ever lose yourself in a piece and forget there is an audience?
That absorption happens when I play Bach. For other, more outgoing music, I feel a great connection with the audience. That’s a great thing.Is there a downside?
I must dedicate all time and energy to music. I cannot play a piece without practice. It’s time consuming and energy consuming. It’s difficult to have a family life.Any plans for the future?
My teacher at Juliard played till 97! He started losing his hearing however. Still, he had this spirit on the stage. Yoshi, on the other hand, is like god. He quit at 60 because he needs perfection. He doesn’t want to play any imperfection. The future for me is misty. Playing internationally is a great opportunity to expand my world but you feel alone all the time. Sometimes it’s wonderful. It’s wonderful here (teaching at Akita International University). I can meet other professors and talk about something other than music.How about teaching?
It’s at the experimental stage right now. I’m searching how to suit the subject, myself and the students. I have to prepare so much, sometimes till three in the morning. Although I’ve tutored, this is the first time I’ve taught a class.the end
This interview was originally published in Kansai Time Out magazine.
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