Micah McLaurin (Piano ’18)
Interviewed by Ali King
Director, Marketing and Business Development
Curtis Institute of Music
February 19, 2021
AK: So you’re speaking with me from Mexico; I’m jealous!
MM: Yes, I’m here with friends. We’ve been here for two weeks but I return to New York soon. I have a performance at an art gallery in a week, which will be my first performance in a year.
AK: Exciting! What have you been working on lately?
MM: I made a new album over the holidays — Chopin, with two Liszt pieces as bonus tracks.
AK: Your social media performances are so well produced; who helps you make them?
MM: My boyfriend, who worked in advertising in Peru before he came to the U.S. I work really hard on the Instagram videos and put a lot of heart into them; it’s not a gimmick. What I play and wear are representations of what I love as an artist. I started focusing on social media in quarantine to continue playing and stay motivated. I’ve started to build an audience there, and the feedback feels great even if it’s not in person.
AK: In a 2019 interview with PAPER you talked about the importance of taking weekly lessons; is that still the case?
MM: I graduated from Juilliard in May 2020 and haven’t had a private lesson in about a year. I had four major teachers in seven years between my time at Curtis and Juilliard. What my teachers taught me still rings in my ears every time I practice, but the pandemic has given me a chance to evolve on my own without too many outside voices.
MM: How were your experiences at Curtis and Juilliard different?
AK: Each played their important role in my development as an artist. I was homeschooled, and the small size and nurturing environment of Curtis was important for that moment in time. The access to growth opportunities there — from performing with the Philadelphia Orchestra to physical training to therapy — was really special. I felt very taken care of as a student, but rarely strayed from the few city blocks of campus. Coming to Juilliard meant living in New York, which brought me out of my bubble and allowed me to meet many different types of people and mature as a person.
AK: Will New York City be home for a while?
MM: Yes, I feel at home there. It’s been hard during the pandemic, but it will come back.
AK: What inspires your taste in performance fashion?
MM: Over the years I’ve put together a collection that speaks to me; I see something and immediately know if I love it or not. I remember going to Versace for the first time when I moved to Philadelphia and being wowed that these beautiful pieces actually existed. Walking out on stage, or dressing for my videos, is a special feeling. Wearing something that transports you from everyday life adds to your and the audience’s experience of the performance. I felt stifled that as classical musicians we were always expected to wear black on stage, like a uniform. The music we play is so expressive and emotional; why are we restricted in our outward appearance? I admire performers like Yuja Wang, who beyond being an incredible pianist, wears what she wants and what feels true to herself. Lola Astanova also pushes the boundaries and has a huge social media following.
AK: Are there other restrictions that you think should be addressed to attract new classical audiences?
MM: I think programming is a problem. A lot of times orchestras program a huge, long symphony next to a challenging modern work, which can be hard to listen to even for me. There aren’t enough accessible options. I think classical music has something for everyone and programming more arrangements of familiar music alongside traditional pieces is a start — like a tasting menu.
AK: What about performing in more casual settings, or speaking directly to the audience?
MM: I do prefer a quiet audience that is actively listening. You can feel if an audience is engaged and feel inspired as a performer to give more. I get nervous speaking to an audience, but recently I’ve had a lot of time to rethink what I’m doing and what my path looks like. Maybe I’ll work on that.
AK: Are there any aspects about your time at Curtis that you’d change if you could?
MM: Curtis was a fundamental part of my growth as a pianist and artist; looking back I wish I had spent more time learning about improvisation, composition, and even taking voice lessons — flexing my creative muscles beyond the fundamentals. I’m learning a little bit of jazz now. I think these skills allow for musical freedom, even if they’re not pursued at a professional level, and should be encouraged more at conservatories.
