A Journey in C Major: In Conversation with Michelle Feng
Michelle Feng, principal oboe (photo by Jeremy Ferland)
As a supporter of the Victoria Symphony, you know that the heart of our orchestra lies not just in the music we play, but also in the stories of the incredible musicians who bring it to life. Recently, we had the pleasure of speaking with principal oboe, Michelle Feng about her journey with the oboe, passion for education and outreach, and settling in with the Victoria Symphony.
A Unique Beginning
Michelle’s musical journey began at a young age, when her parents, who weren’t musicians themselves, encouraged her curiosity. “I started with piano when I was five or six,” she recalls. However, when it came time to choose an instrument for school band, she wanted something different from her classmates. “Everyone was signing up for flute or clarinet, so I thought, ‘I don’t want to do what everyone else is doing,’ and that’s how I ended up with the oboe. That sealed my doom,” she laughs, reflecting on the challenges ahead.
At age 12, Michelle attended a band camp where she met her first oboe teacher, Morgan Zentner. “She was such a great role model and inspired me to really embrace being an oboist,” Michelle shares, fondly recalling the moment that set her on the path to becoming a professional musician.
Reed Making 101
One of the defining aspects of playing the oboe is the intricate process of reed making—a task that many don’t realize comes with the territory. Oboe reeds are thin pieces of natural cane that are trimmed and shaped, and then placed into the top of the oboe. “Band teachers should really warn kids about how hard it is,” Michelle jokes about the reed making process. “Once you fall in love with the instrument, it’s too late!”
Reed making occupies a significant part of Michelle’s daily routine. “I probably spend as much time making reeds as I do practicing,” she explains. “Some players make reeds really quickly, but I prefer to take my time. I find that the reeds last longer that way.” It’s an important part of her craft, and the quality of the reed can dramatically impact her comfort on stage. “When the reed is good, it’s amazing; when it’s bad, it can be frustrating.”
Finding Her Voice
The connection to their instrument can be deeply personal for musicians. Like many musicians, Michelle has found that the quality and characteristics of her instrument can significantly affect her playing. She recently switched from a Lorée oboe—a standard choice among professionals—to a rosewood Laubin. This choice turned out to be serendipitous. “It was such a random thing,” she recalls. “I had tried this oboe years ago when it belonged to my colleague, Brian Green. When I found out it was the same one, it felt like fate.”
Her excitement about this new instrument is palpable. “I’ve never loved an oboe before like I love this one. It just suits my playing style perfectly.” For Michelle, this instrument isn’t just a tool; it’s an extension of her musical voice.
Connection On Stage and Off
One of the most enriching aspects of being part of the Victoria Symphony, according to Michelle, is the sense of community among the musicians. “It’s very special to be in an orchestra where the quality is so high and also everyone is a good human being,” she said. “There’s support and camaraderie that makes performing together a joy.”
For Michelle, live performances create a dynamic interaction between musicians and audiences. “We thrive on the energy of the audience,” she explains. “After the pandemic, we realized how essential that connection is. It’s a dialogue that enriches the experience for everyone involved.”
Michelle appreciates how Music Director Christian Kluxen’s programming strikes a balance between challenging repertoire and engaging the community. “We don’t need to ‘dumb down’ performances to attract audiences. Instead, we welcome them in, inviting them to share in the journey.”
This season, Michelle also shares the stage with her partner, Malcolm Armstrong, who recently won the audition for Principal Bass. “We met in the National Youth Orchestra, and it’s wonderful to play together again,” she says. “After so many years of freelancing, it’s nice to feel settled here in Victoria.”
Michelle in performance with the Auckland Symphony
Michelle and Russell Bajer on stage with the GVYO in 2024
Michelle hosting a workshop on mental preparation & mindfulness for business students at SFU
Giving Back Through Teaching and Outreach
Beyond performing, Michelle is dedicated to teaching and outreach. She instructs a range of students at UVic and offers private lessons to both beginners and adult enthusiasts. “Every student is different, and I love helping them discover their own path with the oboe,” she says. “Teaching challenges me to think critically about my own playing,” she remarked, highlighting how each student brings their unique strengths and needs to their lesson.
In addition to teaching, Michelle has been involved in outreach initiatives, creating meaningful experiences for young audiences. She recalled her ongoing participation in the show “Baba Yaga and the Magic Gallery,” with the Vancouver Island Symphony which not only showcased chamber music but also engaged children in storytelling. “It’s rewarding to inspire the next generation of musicians,” she shared, recalling how one child even signed up for violin lessons after attending a performance.
A Message to You
It’s essential to recognize the dedication and talent of musicians like Michelle. Their stories remind us of the impact supporting VS has, fostering a vibrant artistic community that inspires and engages.
In closing, Michelle offers a simple yet heartfelt invitation: “Come to the symphony; we’re pretty good!”
