When an instrument section of the orchestra plays together, typically, their goal is to sound like one cohesive voice that moves, shifts dynamics, and shapes the mood together.
Dale Breidenthal, a violinist with the Los Angeles Philharmonic since the ’80s, says playing loud in unison is one thing, but creating a simultaneous hush is not an easy thing to do!
“I learned with Carlo Maria Giulini, [the LA Phil music director] who hired me, that when you’re playing very soft in a Romantic piece of music, your right hand on the violin (your bow) has to be very quiet, but your left hand has to be so expressive,” she says. It’s the little things that make all the difference.
Get to know Breidenthal as she shares the moments and music that have made her time with the LA Phil an exciting lifelong adventure.
What do you remember about your very first concert with the Los Angeles Philharmonic?
It was at the Hollywood Bowl in 1981. I don’t remember what we performed, but I do remember not knowing that we play “The Star-Spangled Banner” before each concert because it’s a county park. I remember fumbling around back there and feeling like people were looking at me!
You’ve been a member of the LA Phil for nearly half of its existence! What are some of the highlights of your tenure?
Well, I keep having highlights, so that’s good! But I always love playing the operas. I loved performing Stravinsky’s The Rake’s Progress in Paris with Esa-Pekka Salonen, and I loved Fidelio with Gustavo Dudamel and Deaf West Theater. That production was super, super special. Every time I went into the pit (well, we didn’t play in a pit at Walt Disney Concert Hall, but on tour in Spain, we played in a pit), it was amazing! I really admire music with singers because we, as instrumentalists, aspire to sing—just with something outside of our body.
Which piece of music…
…makes you smile?
Beethoven’s Third, the “Eroica.” It’s just that E-major “WHOOMP! WHOOMP!” The way it starts feels very joyous.
…gives you chills?
The finale of Mahler’s First Symphony. You’ve already played three movements, and when you get to the finale it feels like there’s a whole other symphony left to play!
…brings you to tears?
So many pieces make me teary-eyed. I am very much affected by chords and when they resolve in a certain way. Mahler’s Sixth Symphony is one of my most favorite pieces of music, and it’s a complete work that just goes. It starts, and you don’t feel any release of tension until you finish.
The Adagio has the most beautiful, simple melody. I played it for the first time as a student at USC, and when I heard the horn player—“Dah, dah, dah…dah, dah, dah, dah!”—it felt like a lullaby. It doesn’t last long though. The theme doesn’t come but maybe two times.
You were born and raised in Los Angeles—and have never left! What do you love about LA?
The diversity! Diversity of people, diversity of incomes, diversity of food, and, of course, the lovely weather.
We’re in a city within a huge county. Luckily, there were a lot of things for me to do here. I didn’t have to look elsewhere.
Outside of your LA Phil concerts, people can also hear you playing violin in award-winning films like Hidden Figures and Da 5 Bloods. How did these recording opportunities come about?
I've always been a Spike Lee fan. I watch every single one of his movies. He was really trying to invite and include more Black musicians in the scoring room, so they called me in. Somebody recommended me for the position, so I thought, “I’m just gonna do it,” and that was that!
It’s a lot of work, many hours. It’s usually something I’m doing after or between rehearsals and performances with the LA Phil.
Movie-going audiences generally like a full orchestra. It sounds great when you go to see a movie and hear strings, brass, and percussion. The layers really make it interesting for scoring.
As the Chair for Artistic Service to the Community, you’re very involved with audiences and musicians across the city, particularly with our YOLA (Youth Orchestra Los Angeles) program.
Yes, I did have some YOLA students, and they are just wonderful people doing great things. At a recent concert in Watts, Sergio
You recently announced that you are retiring at the end of the 2024/25 Walt Disney Concert Hall season. What are your plans post-retirement?
There are a couple of music programs in Watts, including one at Macedonia Baptist Church of Los Angeles. They always contract members of the orchestra and young people to play with the choir, so I'll go back to those communities to give my time.
I would also like to prepare a program that I can perform at libraries. I'm just going to give it my all and see what happens!