The first time I had the honor of meeting Mariko Anraku was in the pit of the Metropolitan Opera (commonly called the “ Met”) when I was covering her for a performance of Carmen. Listening to her perform live while looking over her shoulder into the audience of the world’s largest opera house, I knew I was in the presence of one of the great artists of our time. One year into the pandemic, Mariko reflects on the importance of perspective, her journey from Tokyo to New York City, and the healing power of live music. 

Harp Column: It’s so good to see you again—two years after playing the Ring Cycle together. In our last conversation, we were discussing silver linings. I’d love to know what have been the highlights for you this year, and perhaps some of the surprises?

Mariko Anraku: Yes, there have been ups and downs, but I’m just so grateful for all the basic things in life—friends, connections, health. Of course, we were all globally shocked, struggling, and surviving during the first few months as the pandemic spread. Especially being in New York City, we were all scrambling in survival mode…remember all those toilet paper jokes and videos? Thank goodness for technology, that we could all stay in touch, and that we’ve gotten through with our health. Of course, there have been some colleagues and friends that I’ve lost. I don’t like to think about that part, but that’s what the pandemic took from us. For me, I think the highlight has been that it’s made me realize what’s really important in life. I think we all needed that globally. I’m hoping, even as we navigate through this, we won’t change back to the way we used to be. The [other highlight is] just realizing how much love there is out there, and how much kindness. I was always a very grateful person, but on a different level, I was reminded of all the angels in this world. 

It’s amazing how we breathe together even when we’re not playing together, but I can’t wait for that first sound that we make together—can you imagine?

HC: At this point, you’ve been furloughed from the Met Opera for almost a year. Do you think it will be possible for the Met to come back to where they were, or to even come back stronger than before?

MA: That’s a tough question to answer. It was sad enough that we had to shut down—not just us, but every cultural organization and all performing arts. It was so shocking, [since] what we usually do is breathe music. Many people are reaching out to us personally—they all know we weren’t paid for 50 weeks. Personally, I am totally ready to just go back “refreshed” and with more gratitude. I’ve always loved it. We have hard hours and all that, but we get to play all that great music with the greatest colleagues, the best singers in the world, and great conductors. The whole house—the stage managers, the costume makers, the makeup artists, the chorus—everybody does their best always, and everybody is at the top of their game, so devoted and dedicated. I don’t know how we’re going to go back, but I just hope that the rest of our group can come back for the love of music. 

HC: I totally agree, and I think the pandemic forced all of our arts organizations to really look in the mirror and redetermine our value to society and our accessibility. While it certainly has its growing pains, this is still something that we will all come out stronger for. Music brings about healing, right? 

MA: Right. Luckily, we’ve been able to perform in one way or another through virtual performances, where someone puts together all of our parts. It’s amazing how we breathe together even when we’re not playing together, but I can’t wait for that first sound that we make together—can you imagine?

HC: I just love thinking about that return. I’d also like to ask you about balance between work and home life. We’re all hopefully in the process of heading back to “normalcy.” How were you able to balance all the different facets of who you are [during the shutdown]? When you return, do you think you might do things differently?

MA: What I’ve learned over the last year is that it’s really important for us to take time to ourselves because we can’t just be going, going, going. So I think the pandemic was a great “halt” for everyone. For musicians, maybe it’s a great silver lining because we realize when we take that breath or that pause, then we see and hear the beauty of music even more. It’s a reminder for all of us that it’s okay—we need to rest, we need to pause so we can make better music. 

HC: That’s a great reminder. We can’t make great music if we are running on empty all the time. This time can be an opportunity to find joy in our work that we might have been too busy to see.

MA: Being an orchestral musician and a teacher gives me so much joy. I love my students; I’m so devoted to giving everything. I had great teachers: Judy [Loman], Nancy [Allen], and I started with my Aunt Kumiko. I think I’m able to be the teacher that I am because all my teachers are givers. All my teachers helped me so much; they gave me everything. I think I’m lucky because I have these great role models, starting with my grandmother. 

HC: How did that begin?

MA: Well, my 103-year-old grandmother started me on the piano at age 3. She’s still alive! She’s a pianist and piano teacher and moved into a nursing home at age 100. She still plays for the nursing home chorus, and get this—she sightreads!

HC: Wow—she’s an Energizer bunny! When did you transition to harp?

MA: Whenever I used to go to my grandmother’s house, one of my aunt’s harps was always there in the living room. I guess it was their plan that when I grew bigger, I would start playing the harp. So my Aunt Kumiko started me on the harp right before we moved [from Japan] to Vancouver, when I was around 8 or 9. 

HC: It must have been great to have the support of those family members and mentors in shaping your early musical life. What were the biggest challenges for you once you started pursuing the harp? 

MA: It’s strange, but I’ve never had any [major] struggles and difficulties. But I mean, I hated to practice. 

HC: I think we can all relate to that!

MA: I had a pretty intense childhood. I hated water. I hated my mom washing my hair, so she put me in a swimming school very young. I became a really serious swimmer too, training before and after school, and I was continuing piano. I was quite serious about piano until finally Judy [Loman, my harp teacher at the time] had a conversation with my piano teacher in high school and they decided I should just stick with harp. But until then, I had piano, harp, swimming, and I was going to Japanese school all day every Saturday. I never had much time as a child, but, in a way, it was good because I had to do what I had to do.

HC: Would you say that swimming helped you to develop your work ethic and discipline that you could apply to harp?

MA: Probably. I never really analyzed my life. For instance, when I prepared for the Met audition, I just focused on the task at hand. I just did it. But I’m sure swimming helped—we trained in so many ways!

HC: What was your stroke?

MA: Can you tell from my shoulders? Butterfly! 

HC: Snap—you’re a beast! I’m wondering…growing up on the other side of the world, could you ever have imagined when you were younger that you would be playing in the world’s largest opera house five nights a week?

MA: Never! Even when I was at Juilliard, I didn’t think about it. Do you know the reason I auditioned for the Met? I was doing my master’s at Juilliard, and I had just competed in the International Harp Contest in Israel in 1992 where I won third prize. Jana Boušková won second prize, and first prize was Marie-Pierre Langlamet; we all spent a lot of time together. The next fall, Marie-Pierre was also in the city because she was playing at the Met. 

HC: She was at the Met?

MA: You didn’t know? Yes! I auditioned for her spot after she left for Berlin. [Ed.—Marie-Pierre Langlamet left her position with the Met Opera Orchestra after winning the principal harp position with the Berlin Philharmonic in 1993.] The audition was February 1995. Back then, we had to make cassette tapes for the first round, so I submitted mine in September 1994. I hadn’t thought about taking an orchestra audition before, but the reason I auditioned at the Met was because, well, it was next door [to Juilliard.] Plus, I thought, “Well, if it was Marie-Pierre’s job, I want to try, because Marie-Pierre is just incredible. ” Those were my two reasons. 

HC: What a surprise! So you had never taken an audition before?

MA: Right. It was my first audition. I was just so busy at the time preparing other stuff. Judy, my big mentor in Toronto, tells this story where I said, “I’ll just practice through the excerpts every day, and if I get invited to the live audition, I’ll go.” I was so busy, I guess I wasn’t preoccupied. This is a good thing for students to know—I wasn’t attached to the outcome, I just did the best I could. I always just do the best I can, or try to.

HC: It’s really hard to separate your work ethic from the reward, so I think that’s brilliant. Now what was your reaction when you found out you won?

MA: I believe I was packing up in a tiny practice room backstage. I remember packing my tuner bag, and then one of the other orchestra managers said, “Oh congratulations, you’ve got the job!” I think I was stunned and kind of quiet. That’s all I remember!

HC: And then you called Nancy [Allen]?

MA: Yes, I must have called Nancy, and I called Judy—they both helped me to prepare. Nancy was great. She had her auditioning students play for Susan Jolles, who had been subbing at the Met for so many years. Also, I played for Mark Gould—now retired—who was one of the principal trumpet players there. 

HC: Well, you did everything right. Alongside the pandemic, America has also been grappling with issues of race and identity. This has been a time of reflection for many of us—realizing how we need to heal, both personally and as a society. What is your perspective as a first-generation Japanese immigrant?

MA: We first moved to Vancouver when I was 9 because of my father’s job. He was transferred from Japan to work in Canada. A few years later, when I was just about to start middle school, we moved from Vancouver to Toronto. Canada is a very friendly, diverse country in every way, and New York is also very diverse. [It’s] easier to live in places like that. But this year has taught me a lot. 

I’ve done a lot of soul searching and a lot of deep-diving—really facing myself—which has been wonderful. There’s finally time to really breathe and think, “Who am I in this society?” Not just, “Oh, I’m a musician,” or “Oh, I’m a Japanese person who came here,” but I’m intertwined with everyone, everything, and history.

It’s really time. I know there are so many different types of people, and they all come from different backgrounds, but in the end, we’re all the same. We can’t attack the ignorant, but it is our job to kindly explain. We have to be kind, empathetic, and understanding. We need to listen and let people share without judgments—then it would be a great world! 

HC: Yes, and music gives us the platform for that connection. 

MA: And there are no boundaries, right? That’s another reason why we need live music to come back. No matter what, even if it’s not live, I think the pandemic accentuated the universal need for live music. Music has always been a part of the human experience. Music exists everywhere. We’re so lucky to be musicians. It’s a universal language, and we are the ambassadors of peace.

More than a teacher

How Mariko Anraku became part of Judy Loman’s family

“We moved around a lot. [We were living in Toronto and I was studying with Judy Loman when] my dad was transferred to L.A. I stayed in Toronto to live with Judy’s family because she wanted to continue to teach me. So I lived with her family during my high school years. She’s like my second mom, so I have two moms. 

“It was wonderful living with Judy and her family. She was, and still is, a huge inspiration in every way. She started practicing at 8:00 a.m. every day—no matter what—and exercised every day on the treadmill for an hour. Their meals were delicious. Judy’s husband [longtime Toronto Symphony principal trumpet Joseph Umbrico] was an amazing chef; it was so much fun to help him make pasta and sausages from scratch. I will always remember Judy’s pesto; she made it using basil grown in her backyard. I loved seeing countless tomatoes on their backyard table every summer, going for long walks at their farm, riding her husband’s tractor, and seeing their sweet dogs. I could go on and on about the wonderful family. I’m so grateful to have been in an environment full of commitment and devotion to excellence, love, support, and kindness.”

Rapid fire with Marko

Favorite NYC street food: pretzel, roasted nuts, or falafel? Mmmm, falafel! But after being in Israel, you can’t really eat falafel anywhere else. 

Favorite meal of all time? I love everything. My favorite dish is sukiyaki: beef, soy sauce, sake, and lots of veggies (Japanese cabbage, scallions, shiitake mushrooms.) It’s easy, but delicious!

What’s your secret talent? I can give great hugs to my son!

An opera you could play in your sleep? Puccini’s La Boheme or Madame Butterfly.

An opera you never want to play again? Anything by Philip Glass…I mean, I love his music, but maybe just for an hour.

If you could sing the lead role in any opera, what would it be? Oh boy, it’s not the lead role, but in Rosenkavalier, I just love the last scene—the trio.  

Do you have a pre-concert ritual? Not really…my life changed so much when my son was born. But I have a regimen every morning: I get up at 4:45 a.m. before my son wakes up. My favorite thing to do is meditate and do exercises to get my body going. It’s all under 10 minutes, but it wakes me up! Then I’ll have some tea—I love English tea with milk and manuka honey. If I don’t run out of time, I’ll do a gratitude list and write down all the things I’m grateful for. 

What’s one of the most memorable productions you’ve been a part of at the  Met? There’s a run of Wozzeck that we did with Jimmy [James Levine] that was just amazing.

A harpist-composer who you’d love to meet in person? I don’t think I’ve had a chance to meet Caroline Lizotte. I’ve talked with her, but I would love to spend time with her! 

Favorite place to go for a post-opera snack? Boulud Sud. For New York, it has a lot of space…great for a glass of Sancerre and some appetizers.