Sir Isaac Newton discovered gravity, but lost a possible fellow mathematician to the gravity of music. “Initially, I had embarked upon a degree in mathematics, but it became very clear after my first year of studies that the pull towards music was a strong passion,” says VO's Principal Clarinetist, Mary Backun. “For me, playing the operatic clarinet parts feels very akin to singing.”
The Calgary native first took up the clarinet in a school music program, and then trained under Arthur Vanderburg. After winning second place in an international youth solo instrumental competition in Vienna, she studied under Dr. Stanley Finn at University of Calgary, with whom she remained friends until his passing.
When asked what inspires her, she responds “there are so many facets to this question. …I am of course incredibly inspired by the musicians I have had the privilege to work with and listen to through the years. As a young clarinetist I became captivated with the orchestral sound of the Berlin Philharmonic Orchestra.” Today? “I would have to say that Ricardo Morales, Principal Clarinetist in the Philadelphia Orchestra and former Principal Clarinetist of the Metropolitan Opera Orchestra, is an inspiration for his sound, facility and musical interpretation.”
Conductors are not an exception. “I believe that Kees Bakels (VO), Mario Bernardi (CBC Orchestra) and Jonathan Darlington (VO) have had a profound impact upon my musical vision, and I have always felt the desire to give my personal best whenever working with them. I find it inspirational to play under the kind of leadership that can create the best musical results from the players.”
And of course, “I would have to say that I am constantly inspired by the artistry of my husband, Morrie, who is a clarinetist and designer and manufacturer of clarinets. The array of colours and timbres that his clarinets and mouthpieces offer have added a new dimension to my ability to play the clarinet.”
Mary's other passion is teaching. She and a colleague “co-direct a program with 225 boys who all perform in the school instrumental program” at St. Georges School in Vancouver, which is “a constant reminder of the future of music” for her. “There is nothing quite like the enthusiasm and energy of a young player as he learns a musical concept for the first time. I always knew as a young musician that I wanted to teach and the chance to work in this environment over the past eight years has been most gratifying.”
Her most memorable VO productions include Der Rosenkavalier and Salome, both with Jonathan Darlington, and Carmen with Kees Bakels (1986). "It was probably about as close to a riot as the Vancouver audiences have ever experienced with patrons leaving either loving or hating the production.” And recently, “Nixon in China was a wild ride! The technical demands (John Adams being a clarinetist himself) and musical intricacies of the score made it a thrill to perform.”
Something new that she would like to try? “It would have to be Verdi’s La Forza del Destino.”
Any summer plans? “In addition [to rediscovering solo and favourite pieces], I have been starting to play a little bit of jazz clarinet and love the challenge and freedom this medium brings to my playing. The flute is an instrument I use a great deal at school but this summer I plan to play more flute as well.”
And the future? “Aside from doing some arrangements for my music students [for the clarinet choir at her school] I am toying with the possibility of producing a CD…it would be great fun to join forces with some of the incredibly talented friends and players I have the blessing to know.”
~ Nagisa Inoue, Assistant to Director of Artistic Planning
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