Orchestras have a lot of musicians. And oftentimes, strings make up half the ensemble! But, for Michelle Tseng, being one among many is a great honor. It’s never “just my performance,” she says. “Every little thing we do matters,” and “everyone has a part to play.”

Learn about how Tseng finds purpose in community as she discusses the joys of the violin, her favorite memories of performing with the Los Angeles Philharmonic, and eye-opening moments she’s shared with our audiences.

What made you choose the violin?

I started with piano, but my dad always loved the violin. He actually wanted to learn when he was younger, and I think a violin just kind of showed up one day at home, and I took to it…. I guess it felt good in my fingers, so I eventually fell in love with it and decided to be a violinist.

It’s a very versatile instrument, and we get a lot of good music written for our instrument. There’s just a lot out there to do, so it keeps things exciting. We’re always learning new pieces, too, on top of that!

Which piece of music…

…gives you chills?

I always find a moment in every performance, so it’s hard to pick just one. Tan Dun’s Buddha Passion and Thomas Adès’ Dante—which we just recently got a Grammy for! I remember those pieces because they were new works; no one had ever heard them, and when we finally put together those crazy productions somehow, I just felt like, ‘Wow, we really did something here.’ It felt like the juice was worth the squeeze. 

…brings you to tears?

Sometimes I’m moved when we play E.T. the Extra-Terrestrial in concert because the music is beautiful. When I get a moment to watch the audience members, I can see some people sitting in the audience crying—and I feel the same! It’s some really moving music.

What are you most looking forward to performing this season?

I was pretty excited to play Dzonot. We’ve played many of Gabriela Ortiz’s pieces, but this one, I think, was actually quite cool to present. During the last rehearsal, as we were playing this new cello concerto and talking about moments that move us, she cried hearing it all come together because it meant a lot. It’s a great piece.

We’re also doing a bunch of Mahler’s music with Dudamel in the spring. As he comes up on his last season next year, everything starts to feel a little more precious in all the concerts we do with him. I look forward to every week in this job. We’re so lucky to do what we do.

You’re a SoCal native! What do you love most about living in LA?

Yes, I’m from Orange County, so not too far from here, and my parents still live there. I remember coming up to LA a few times growing up. I studied with someone who lived in La Cañada, so I would drive up on the weekends to get lessons. Eventually, I went to USC, then to New York for a bit, came back, and now I’m here again. I guess I couldn’t stay away! 

I love being close to home because I’m family-oriented—but it’s also the weather, the innovation, and the fresh kind of vibe that’s here. Everyone’s very open and friendly, and it feels like there’s a lot more space to—not only artistically but just physically—spread out. Always something new going on. We’re always pushing forward, up and onwards!

You’ve been with the LA Phil since 2017. Seven years in, what are some of the biggest highlights?

There are so many top memories! Well, obviously, when I got hired was a very vivid moment, being welcomed by Dudamel and the musicians. It was like my dream job, you know?

I also remember when we did the Rose Parade during the LA Phil’s Centennial year, and I got to be on the float with a couple other musicians. I’m not sure if I’d do it again, but it was a good experience—especially since my family’s grown up watching the Rose Bowl! Getting to be a part of that was definitely a memory.

Can you tell us a moment you shared with an audience member?

There was one interaction I remember having with an older fellow who was sitting in the front row of the Hall.

I can’t remember the piece we were playing, but you know, most musicians are kind of ready to walk offstage after the performance, and I think he tried to wave me down. He almost tripped over his cane to say, “Hey, wait!” Then he took out the program and asked, “Which musician are you?” because he wanted to underline my name.

He said, “I was watching you during the performance, because I happened to be up front, and was just so moved.”

I guess he really enjoyed my performance—which wasn’t just my performance. I was part of the group, but somehow, I impacted it in some way, and so that was a nice feeling to know that every little thing we do matters, and to give that [experience] to someone is such a gift.

Every day there’s an unpredictable new thing here, and it’s always exciting and gives me purpose to be part of a community. We sort of feel like a community here, because we all come to, you know, share and experience every concert.

Everyone has a part to play, and bringing this—whatever it is—together is something great.