Mother/Daughter -- Deborah and Simone Porter

Deborah Porter had only a couple classical music cd’s in her collection.  But her daughter Simone, though just a baby, always picked out the opera Tosca.  “There’s a line in an aria that goes ‘Mario, Mario’, and my parents told me that one day when I was two I sang ‘Momio, Momio I want my milk!’ in the same melody,” explains Simone, arms gesturing as a diva might on stage. 

 

“I don’t know anything about music myself, but what I saw in Simone from the earliest age was a love of classical music, of opera,” said Deborah.  When I saw how determined she was – this was not something forced on her.”

 

Deborah started bringing Simone to concerts of the Utah Symphony when she was a little more than two.  Simone saw the orchestra pit and the begging to learn violin started sometime thereafter. “I waited an entire year and finally I gave in, and at 3 and ½ found a wonderful teacher,” said Deborah.  Simone started with a Suzuki program.  “And right from the beginning I could tell there was something different.  There was no screeching, no terrible noises.” 

 

Simone interrupts – “yes, there was.  It was horrible!”

 

“We know of some kids who were pushed by their parents at age two or earlier.  Not Simone – it was she who was pushing.  It’s so foreign to me I would never have dreamed of this.  My whole family is lawyers!”  Deborah smiles at the irony.

 

 

Simone Porter

 

Before moving to Seattle, Deborah found Margaret Pressley. http://www.pressleystudio.com/  At age five Simone auditioned for and was accepted as one of Margaret’s pupils and stayed with her for six years.  “She was amazing!  She’s the one who brought me so far,” Simone declares effusively . It was Margaret who recommended Robert Lipsett recognizing that Simone’s skill had expanded beyond what she could give her. 

 

But starting with Lipsett meant starting over for Simone.  For the first months, her weekly journey to Los Angeles was filled with hours and hours of repetition as her new teacher tried to dispel Simone’s “jerky” technique.  “I would fly down to L.A. and I would just play one note.  And scales – only scales -- for four to seven hours a day.  It definitely was hard.  But I knew, this is going to help me so much in the future with everything I want to do.  Now I’m finally getting to a place where things are automatic – that’s my goal, that’s our goal.”

 

But for Deborah, the drudgery of scales “proved to me that Simone was doing what she wanted.  She had already played with the Seattle Symphony and she went back to playing scales.  And I knew, if she could do this, she was really committed.”

 

The other thing that came with her L.A. study was the recognition it was time for a violin.  One of her own, not just borrowed from her teacher.  “The one I was using had served me really, really well, but it couldn’t fit the gigs I’m doing right now.  I needed an instrument that was more versatile, had more range.”

 

Just how does one go about purchasing an instrument that will cost somewhere between tens and a hundred thousand dollars?

 

“I looked all over the country.  I was being sent violins from all over the place.  For over a month I would bring these violins down to LA.  For entire lessons I would play violin number 1, then violin number 2, then 3, and 4.  How does this one compare to that?  I was looking for an instrument that had a great ‘G’ string and a great ‘E’ string (lower and higher) because a lot of violins have either one or the other.  I really, really wanted something that had both.  I wanted something that could handle rough things like Khachaturian and dainty things like Haydn.”

 

And then it came down to the final two, one English and one French.  “I had to send one of them back.  So, over the course of 24 hours I thought about this, going back and forth.”

 

Finally she settled on one.  The French Joseph Hel, built in 1899.  At a price of $50,000.

 

“I was astounded that we could get a violin of this quality for so little,” said Deborah.  “It’s gorgeous.  It projects beautifully.”

 

And how did she finally make her decision?

 

“The English one suited me for where I am right now, but this one I chose is more for the future.  It will allow me to grow.  It’s a little harder to play.  I’m really going to have to work hard, but this will get me to where I want to go.

 

“Ultimately, I had to trust my instincts, which was a big step.  Not just thinking but knowing, feeling.”

 

And how does that feel to trust your instincts so confidently at age 13 that you are prepared to make a $50,000 decision based on them?

 

“That’s something I’ve been building up to for so long.  If I’m not going to trust what I believe, if I’m always trying to be what someone else wants me to be, I won’t be an authentic performer.”

 

Simone shows her authentic side

 

And she’s just as authentic off the stage.

 

Indeed, any hint of the personality that describes some of the “true” prodigies they know – aloofness, seriousness, social awkwardness --  is absent in Simone.  Quite the opposite.  She seems to possess a social ease and awareness beyond her years.  She speaks thoughtfully of books she’s read, smoothly adjusts the last name of a teacher to reflect her recent marriage, even pauses to appreciate an analogy I make. 

 

If you don’t spend much time around teenagers, you’ll have to take my word.  This is not standard stuff. 

 

But she’s a standard teenager in other ways.  Last year I was hanging out on the playground with a P.E. teacher at Simone’s school while she supervised a game of touch football.  I pointed to Simone and asked the teacher, “Did you know that girl is a violin virtuoso?  She has played Carnegie Hall.”  The teacher’s eyes grew wide.  “And she’s playing football, oh, my God! ”  The two of us watched as Simone ran around and played like all the other 6^th graders and, thankfully, finished the class with her fingers still working, a smile on her face, and a glow of sweat on her forehead.

 

Those classmates are part of Simone’s peer group just are the other musicians who join her at the Aspen School or who will play with her in London this April.  “No one group is more my peers than the other.  I’ve come to not see it not as two separate lives, just separate experiences.  I have different opportunities with each group of friends,” Simone explains.

 .

Deborah points out one difference between the two groups of friends.  The musicians “understand about the practicing and the time commitment because they have had the same experience.” 

 

So where is all of this hard work and travel taking Simone and her mother?

 

At this point, Simone hopes for a career as a professional violin soloist.  “And my goal is to play with the New York Philharmonic!”

 

I asked Simone if she felt the pressure of other people’s expectations as she follows this path, and immediately she grew pensive as if this were a question she was not often asked.

 

“Mmm, that’s interesting.  I guess there is some pressure to be certain places but I don’t feel like it’s anything unfair.  Because I’m the one who signs up for these concerts.  I’m the one who recognizes I have to meet certain standards.  The pressure is all chosen.”

 

As for Deborah?  “She can stop anytime she wants.  I tell her, when you’re done I don’t care.  Although, when you sign up for a performance and you’re getting paid for it as she is now, you have to do it.  And if you’re going to go to LA, you have to practice four hours a day.  All I want is that she tells me – right away – if she doesn’t want to do it anymore.  I mean, what a ride we’ve had so far -- it has all been joy.  Simone has taught me so much.  I’m incredibly grateful for the privilege to nurture someone who brings beauty to the world.”

 

How do Simone and Deborah Do It?

 

• Simone has a Jascha Heifetz scholarship that covers full tuition to study with Mr. Lipsett.  She has a merit scholarship to study with Danielle Belen, Mr. Lipsett's assistant.  Colburn Conservatory has graciously allowed Simone and Deborah to stay in their dorms during their extended stay.
• Simone has mottos that she turns to: Carpe Diem – live each day to the most; Work Hard, Play Hard; Another Door is Another Opportunity
• “My mom has taught me not to procrastinate, so my time becomes more flexible once I get everything done.”
• Simone draws inspiration and emotional insight from Harry Potter which she translates into her violin playing.
• Deborah came to her University of Washington job as Professor of Chinese Studies with tenure and several publications under her belt, which means she is free of the “publish or perish” pressure and can arrange her teaching schedule to match Simone’s.
• Simone’s father, also a Professor at the UW, is very involved and supportive of Simone’s career though he and Deborah are no longer married.
• Deborah has a “Virgo sense of organization” and she macro-manages their schedule

 

What books have they read recently?

 

Simone:

• 1984, by George Orwell
• Pride and Prejudice and Zombies,  by Jane Austen and Seth Graham-Smith
• The Lost Symbol by Dan Brown

Deborah:

• Sophie’s World: A Novel about the History of Philosophy, by Jostein Gaarder
• The Winter Vault by Anne Michaels

 

Whom do they want me to interview next?

• Daisy Thompson, Energy Intuitive

Comments

[Andrea]

Its really a wonder how the new generation kids like Simone are so more talented than our generation (1 gen earlier). Maybe it is because of all the "global networking"..

Peace,
Andrea

[Rachelle]

Why would she buy a $50,000 violin? Snobby.

[Myrna]

Great story. It's funny how some people are born with natural talent for music while others are not. I am glad to see such great work ethic is such a young person. Most kids these days don't seem to be able to get off the couch.

[Janet Pelz]

Angela -- I'm so glad you found and read the article about Simone and really happy you liked it. Thanks for reading and I hope you come back to read about others.

[Angela]

I'm 11, Simone used to go to the same school as me, one grade higher. I just wanted to say this is an awesome article, good job, thanks, and good luck to Simone :)

[Helen Li]

Dear Janet,

Thank so much for this two-part article about Simone and her mom. I am really impresssed by Simone's work-rate and total committment at this young age. I totally agree with you that she is unaffected, has an easy-going manner, and friendly. We could see that just by watching the TV documentary "The World's Greatest Musical Prodigies."

I had a chance to exchange a few words with Deborah at the Barbican in England on April 8 (I also met her aunt)before the performance. Needly to say, Simone was a vision on stage, and played "Carmen" with so much passion and professionalism that we were left dumbstruck and incredulous. Please tell Deborah that we are the privileged ones though I agree with her that she is "nurturing someone who brings so much beauty to the world." I have left some message for them on the Youtube video under the name "alphabetacanton." I left message there before under another name, it is either "cabbagemintor" or "auntspode8899." Basically I was saying that this girl has everything: exquisite looks, twiggy figure, great playing style, assured professionalism, and a stella future!!!! And now from you I have learned of her incredible dedication. Thanks again Janet and say his to your daughter for me.