What is it like to start an orchestra?

Read this day in the life story about New England musicians and founders of the Boston Festival Orchestra (BFO)

“The thing that makes all of the work worth it is that I have the tremendous opportunity to make music with the musicians of the BFO, a stellar bunch of local professionals who continue to inspire me with their fearless approach to music-making.”

Alyssa Wang
Artistic Director
Principal Conductor

Guests aren't allowed in my music room right now. When you open the door, the first thing you notice is that there's hardly any space to walk: scattered piles of scores and parts across the carpet, a music stand crammed into the corner of the room, stacks of boxes with fresh rental parts squeezed against the bookshelf. The walls are busy, too, with score study charts and lists taped haphazardly above the desk by the window. This is the chaos before the BFO summer season begins. It's a mess in here, but the flurry of preparation, the music quite literally surrounding me--it's unexpectedly joyful.

We’re about a month out from our first rehearsal, and I feel the pressure. We wear many hats as founders and Directors, and the tough work lies in the reality that there is always more studying to do, more money to raise, more tickets to sell. It’s never ending. I organize my day with daily lists that outline my tasks: score study, practice violin, email follow-ups, social media post, scan library parts, write a newsletter, on and on. I don’t get to everything on my list every day, and that’s okay. The most important thing is for me to remember my number one job—be prepared to conduct the Boston Festival Orchestra.

Find an excerpt of Manuel de Falla, El Amor Brujo, Ritual Fire Dance from the Boston Festival Orchestra, Alyssa Wang, Conductor, Boston Festival Orchestra.

The thing that makes all of the work worth is that I have the tremendous opportunity to make music with the musicians of the BFO, a stellar bunch of local professionals who continue to inspire me with their fearless approach to music-making. Back when we first started BFO, I was a newly minted conductor, fresh out of school and drowning in imposter’s syndrome. I am immensely grateful for the trust the musicians put in me then, and now, as I look at how my own life as a conductor has developed, I can only be grateful that the musicians of BFO have had my back from the very beginning. Going into this fourth summer, I feel much more confident than when we started. It’s like I’ve found my own body somehow, like I’ve grown into myself. I trust my own ear more. I trust that I am doing the best that I can do. And I look forward to the month of July where we all get back together again and try to collectively do the best that we can.

As the Executive Director of the BFO and a full-time performer and educator, every week looks very different for me and requires a lot of adaptability! My number one rule for myself is that I maintain clear boundaries and communication as I navigate the different roles and responsibilities that I fill. Luckily for me, I am surrounded by supportive colleagues who want to see me succeed and help out in so many different ways. And that is why the NEMRF is such an important resource – because it reciprocates the support that musicians show one another, and amplifies the voices of our industry! I am fortunate enough to relive my most memorable moments year after year at our Summer Stage concerts.

It is rewarding beyond words to sit on stage surrounded by incredible musicians, watch audience members flood into the hall, and acknowledge that this was all made possible because of a shared vision and community support.

Nicholas Brown

Executive Director

Principal Clarinet

BFO Summer Schedule: Boston Festival Orchestra