Concertmaster, National Ballet of Canada Orchestra | Associate Concertmaster, Canadian Opera Company 

NYO Canada Alum: Early 2000s | Faculty: Violin, June 29–July 6, 2025

When Aaron Schwebel joined NYO Canada as a teenager, he had never played in a full orchestra before. Looking back, he describes that first summer as a transformative turning point—both musically and personally. 

“NYO was actually my first ever orchestra, and I’ll never forget the experience of playing in such a massive ensemble for the first time. It was simultaneously daunting and completely exhilarating.” 

That thrill—of playing with passionate peers, diving into major repertoire, and discovering the energy of large-scale music-making—left a lasting impression. 

“To be surrounded by peers who were just as passionate and excited about music was overwhelming in the best way. It’s an environment where you bond quickly and deeply with the people around you, and that made it powerful and transformative, both musically and socially. Pretty exciting stuff for a fifteen-year-old.” 

One moment that still brings laughter? A lesson in orchestral terminology. 

“During my first summer, I had certain gaps in my knowledge of orchestral playing, including the meaning of the term ‘divisi’. I can’t tell you how much time I spent practicing the slow movement of Rachmaninoff Symphony No. 2 in thirds, only to discover— with an even mix of shame and relief — that my stand partner had the bottom notes covered. That stand partner is still a friend today, and we still laugh about it.” 

Today, Aaron returns to NYO Canada as a violin faculty member. He brings with him a wealth of experience from a career that spans orchestral leadership, solo work, and chamber music collaborations. 

His advice to young musicians? 

“Take care of your bodies, everyone! Our work is physically demanding, and injury prevention is easier and cheaper than treatment and recovery. Take breaks, avoid repetitive strain, and stay physically active outside of your instrument. It’s important to keep us strong, resilient, and balanced, both physically and mentally.” 

Teaching now plays a central role in his artistic life—especially when it comes to repertoire that encourages storytelling through sound. 

“Maybe I’m biased by his ballet repertoire, but I absolutely love Sergei Prokofiev. I love working with students on his music because it demands a lot of imagination as well as precision. It often asks us to be storytellers, or to inhabit a character.” 

For Aaron, Prokofiev’s music is the perfect vehicle to explore expression and technique. 

“His writing is incredibly vivid — theatrical and emotionally complex. It’s full of ironic, biting wit, haunting beauty, and ethereal lyricism, and I enjoy helping students discover and communicate all these different elements of his compositional language through their instruments.” 

From a first-time orchestral student to an inspiring educator and concertmaster, Aaron’s path came full circle—and it all started with a summer at NYO.