May 1, 2026
Kelly Leon-Pearce
Second Violin
Kelly Leon-Pearce joined the SF Symphony in 1990.
What was a really memorable performance from your career so far?
Performing Stravinsky’s Rite of Spring with Joffrey Ballet in 1991. I had performed it many times before, but to be able to watch the ballet perform too? That was incredible!
How did you begin playing violin?
My mother, who always wanted a white baby-grand piano in her living room, started my older siblings at a music school after they started plinking out tunes from Romper Room. She noticed small children with tiny violins and thought she would let Suzanne, my sister (who is now also in the Symphony), start as well. I was always told not to touch her violin, but as any parent can guess. . . I couldn’t keep myself away!
Story continues below...
What was a really memorable performance from your career so far?
Performing Stravinsky’s Rite of Spring with Joffrey Ballet in 1991. I had performed it many times before, but to be able to watch the ballet perform too? That was incredible!
How did you begin playing violin?
My mother, who always wanted a white baby-grand piano in her living room, started my older siblings at a music school after they started plinking out tunes from Romper Room. She noticed small children with tiny violins and thought she would let Suzanne, my sister (who is now also in the Symphony), start as well. I was always told not to touch her violin, but as any parent can guess. . . I couldn’t keep myself away!
Story continues below...
It sounds like you come from a very musical extended family.
I do! At one time, my sister, her husband, his sister, and her husband were all violinists in the Symphony! My other sister and sister-in-law are both amazing pianists married to world-class pianists too. And no, we don’t actually gather around and jam after dinner.
And what about teachers? Who did you learn the most from?
Jean Rupert was the teacher who started me, and she took me through about 12. Those were really formative years and were very important. Then I also studied with Dorothy DeLay at Juilliard.
Can you tell us about your violin?
My violin was made by Jean-Baptiste Vuillaume, a French luthier. My sister also plays a Vuillaume, she got hers about a year before I got mine. I asked my friend and violin dealer to show me some instruments, and this was the first one I saw. At least two colleagues said, “if you don’t buy it, I will,” so I had to get it before somebody else snatched it up. It has an amazing tone. It carries, and it’s rich, and it’s thick, and it’s ahhhhhhh. . .(sighs)
What about your bow?
My favorite two bows are by Émile Ouchard and François Voirin. Voirin used to work in Vuillaume’s shop, so I like to think it used to be played together with my violin back in the 1800s.
How does the conductor affect how the orchestra plays?
I’d liken the conductor to the director of a play. You can see a play directed by many different people and it won’t be the same. Take Beethoven Fifth, it’s been around for 200 years, but every conductor does it differently. You may want to be as authentic as possible to Beethoven, but did he want it to be heroic, or was he just angry? Is it sad and morose, or is it just contemplative, thoughtful, or peaceful?
How do you spend time outside of work?
Now that my husband has retired from his dental practice, I no longer have to do his bookkeeping. It’s freed up quite a bit of time to hike, kayak, bake, and knit (mostly baby sweaters for orchestra babies and other friends’ babies too). I’ve also taken up indoor rock climbing and pottery making on a wheel.
What do you love about the orchestra?
I love being part of this fabulous musical family! It’s just such an amazing experience to be in the midst of all this luscious sound and to share its beauty with our audiences!
I do! At one time, my sister, her husband, his sister, and her husband were all violinists in the Symphony! My other sister and sister-in-law are both amazing pianists married to world-class pianists too. And no, we don’t actually gather around and jam after dinner.
And what about teachers? Who did you learn the most from?
Jean Rupert was the teacher who started me, and she took me through about 12. Those were really formative years and were very important. Then I also studied with Dorothy DeLay at Juilliard.
Can you tell us about your violin?
My violin was made by Jean-Baptiste Vuillaume, a French luthier. My sister also plays a Vuillaume, she got hers about a year before I got mine. I asked my friend and violin dealer to show me some instruments, and this was the first one I saw. At least two colleagues said, “if you don’t buy it, I will,” so I had to get it before somebody else snatched it up. It has an amazing tone. It carries, and it’s rich, and it’s thick, and it’s ahhhhhhh. . .(sighs)
What about your bow?
My favorite two bows are by Émile Ouchard and François Voirin. Voirin used to work in Vuillaume’s shop, so I like to think it used to be played together with my violin back in the 1800s.
How does the conductor affect how the orchestra plays?
I’d liken the conductor to the director of a play. You can see a play directed by many different people and it won’t be the same. Take Beethoven Fifth, it’s been around for 200 years, but every conductor does it differently. You may want to be as authentic as possible to Beethoven, but did he want it to be heroic, or was he just angry? Is it sad and morose, or is it just contemplative, thoughtful, or peaceful?
How do you spend time outside of work?
Now that my husband has retired from his dental practice, I no longer have to do his bookkeeping. It’s freed up quite a bit of time to hike, kayak, bake, and knit (mostly baby sweaters for orchestra babies and other friends’ babies too). I’ve also taken up indoor rock climbing and pottery making on a wheel.
What do you love about the orchestra?
I love being part of this fabulous musical family! It’s just such an amazing experience to be in the midst of all this luscious sound and to share its beauty with our audiences!
