A mentoring programme provides individual support for orchestra trainees at the Tonhalle-Orchester Zürich. It goes far beyond the preparation of works.
Sarina Zickgraf, assistant principal violist, and orchestra intern Miranda Nordqvist meet twice a month in one of the Tonhalle's practice rooms. Here, the intern and ZHdK student has the opportunity to discuss the current programme of the Tonhalle Orchestra Zurich with her mentor. They recently discussed passages from Rodolphe Schacher's family play "The Frog King". But sometimes it goes beyond that, says Miranda Nordqvist, and she can also bring along other repertoire for her own auditions and thus receive important input. The mentoring programme is individual and needs-oriented.
All students doing an internship at the Tonhalle Orchestra Zurich are mentored in this way. The original idea for this, explains Sarina Zickgraf, came from the Austrian conductor Herbert von Karajan. His Karajan Academy, founded in 1972, was intended to promote young talent - in his case, that of the Berlin Philharmonic Orchestra. "It was the first academy to establish mentoring," says Sarina Zickgraf. She herself completed an internship with the SWR Symphony Orchestra in the final year of her bachelor's degree. Although she did not receive individual tuition there, she still received support from people in the viola section. Every orchestra handles this a little differently.
Miranda Nordqvist, who grew up in Uppsala, Sweden, had her audition for the internship at the Tonhalle Orchestra Zurich in May 2025. Before that, she studied for a year at the ZHdK on the Master's programme in Music Performance. Her mentoring programme also lasted a year, with Héctor Cámara Ruiz accompanying her for the first half and Sarina Zickgraf for the second half. It was clear even before the audition that these two would mentor her: a rotation scheme ensures that a different mentor is assigned each year.
Her teachers at the ZHdK are very focused on the solo repertoire, says Miranda Nordqvist, which is why the mentoring programme in the orchestra is a crucial addition. In addition to the lessons in the practice room, she can also ask questions before, during and after rehearsals. This helps her to deal with the pressure that comes with completing an orchestral internship. The overarching goal is to feel part of the orchestra - and not just musically: "It's important to know what makes my section tick," she says. Essentially, it's about understanding the group dynamics, the human element and social skills. How do the others in the section react in certain situations? What developments occur during a week of rehearsals? Which passages are particularly important to keep an eye on?
Sarina Zickgraf confirms this: In her studies, the focus is very much on the solo repertoire, but for the orchestra you need different skills. On the one hand, you have to be able to hear your own voice - even if that sometimes seems almost impossible. On the other hand, you have to be aware of everything that is going on around you. As a mentor, she knows both sides - as a student and as an orchestral musician, which is why she is able to empathise with Miranda Nordqvist and offer her the best possible support.
And why the viola? They both started out on the violin and then switched. It was the sound that fascinated them: "The sound of the viola is like dark chocolate," says Sarina Zickgraf, describing her instrument. And Miranda Nordqvist was given new opportunities to play in chamber music ensembles and orchestras after finally switching to the viola. She can well imagine becoming a mentor one day.
