Midori life and biography

Midori Goto is a Japanese American violinist. She made her debut at the age of 11 in a last-minute change of programming during a concert highlighting young performers by the New York Philharmonic under Zubin Mehta. When she was 21, she formed the philanthropic group Midori and Friends to help bring music to children in New York City. She is internationally renowned as a performer. In 2007, she was selected as a UN Messenger of Peace.

At age twenty Japanese violinist Midori Goto, who performs under the name Midori, is no longer considered a mere child prodigy. With her virtuoso technique, pure tone, and artistic interpretations, she is quickly dispelling doubts about her future as a violinist. Midori has appeared with many of the world's best orchestras, including those in Berlin, Chicago, Cleveland, Philadelphia, Boston, Montreal, and London, performing some of the most technically difficult works in the solo violin repertoire.

Born in Osaka, Japan, on October 25, 1971, Midori demonstrated her musical ability at an early age. Her mother, a violinist, regularly took young Midori with her to orchestra rehearsals, and one day she noticed that the toddler was humming a piece that the orchestra had been practicing several days earlier. Midori, fascinated by her mother's violin, often tried to touch the instrument, so on her third birthday, her mother gave her a one-sixteenth-size violin and began to teach her to play it. Later Midori maintained that learning to play the violin was as natural as learning to talk.

At age six, Midori gave her first public recital with a performance of a free form instrumental piece by Niccolo Paganini. She progressed rapidly during the next few years, practicing diligently, and she often went with her mother to the auditorium where orchestra rehearsals were conducted, practicing in one of the hall's empty rooms. An American colleague of Midori's mother chanced to hear the young girl play and, astonished by her technique, took a recording to renowned violin instructor Dorothy Delay at New York City's Juilliard School of Music.

Delay, who taught at the music festival in Aspen, Colorado, during the summer of 1981, invited Midori to participate and arranged for a scholarship. Midori's performances that summer confirmed Delay's estimation of her talent, and a year later Midori and her mother moved to New York City so that Midori could enroll on a full scholarship at Juilliard in the precollege division.

After enduring years of an unhappy, arranged marriage, Midori's parents divorced. Midori and her mother began a new life in the United States. Remembering those early years in New York, Midori told Los Angeles Times contributor Donna Perlmutter, "When she decided to bring me here--for the study opportunities, for a school like Juilliard--we had no money and could not even speak English.... It took amazing conviction to come alone to a foreign country with a little kid, and to go against the family wishes. I like to think I have some of that strong-mindedness." Midori's mother obtained a position at the Hebrew Arts School in Manhattan, teaching violin to support the family. While studying at Juilliard, Midori attended the nearby Professional Children's School for academic subjects. She also began performing with the New York Philharmonic Orchestra for young people's concerts and galas, but her agent strictly limited her schedule.

In the summer of 1986, fourteen-year-old Midori took the stage with the Boston Symphony at Tanglewood, in the Berkshire Mountains of Massachusetts. She performed Leonard Bernstein's Serenade until a string on her violin broke. As is the custom, Midori calmly approached the concertmaster and borrowed his violin, a much larger one than her own. A short while later a string on this instrument broke. After Midori borrowed the associate concertmaster's violin and finished the performance, the audience, orchestra members, and Bernstein, who was conducting that night, burst into hearty applause. The next day Midori's photograph appeared on the front page of the New York Times.

Despite the sudden fame, the number of Midori's annual performances was increased gradually. By 1990 she was appearing in a total of ninety concerts or recitals per year. Midori claims she does not suffer from stage fright. "I never get nervous or anything," she told Michael Fleming of the St. Paul Pioneer Press-Dispatch. "For me it is such fun and so comfortable to play the violin. When I am on stage, those are some of the happiest times of my life." Surprisingly, however, Midori maintains that she is always a bit disappointed with her performances, insisting that she will do better the next time. "I'm always fighting to be better, to improve, to express new ideas with my violin," she explained to Denver Post writer Marian Christy. "After a concert I rate my performance: What was good? What was not so good? Then I tell myself that I'm not a robot." While traveling, Midori practices several hours each day, and until she graduated from the Professional Children's School in June of 1990, she also did several hours of homework daily.

Earlier--in 1987--Midori left Juilliard because of personal differences with Delay, which she declines to discuss. "Between school homework, rehearsals and practice there was no time for anything else," Midori explained to Perlmutter. "Since dropping out of Juilliard the world has opened. I go to concerts and movies and have a special curiosity to hear how this one plays and that one plays. I love it." Midori enjoys reading, writing short stories, studying karate, and attending concerts. In addition, she regularly contributes a column on life in the United States to a Japanese teen magazine.

Midori has successfully ventured into the recording industry as well, releasing double concertos of Johann Sebastian Bach and Antonio Vivaldi with Pinchas Zuckerman, two violin concertos by Bela Bartok, the violin concerto of Antonin Dvorak, and caprices by Paganini. Under an exclusive contract with CBS Masterworks, Midori chooses her own repertory for recordings and also selects the conductor and orchestra, though some orchestras and conductors are unavailable because of contracts with other record companies. After listening to some of the records she made in the 1980s, Midori confessed to Fleming: "I sound like a little girl. But now ... I'm different; I'm sure I will sound different when I'm forty. That's the great advantage of playing from an early age, that you get to see yourself change."

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