{"id":28349,"date":"2025-05-15T16:41:38","date_gmt":"2025-05-15T14:41:38","guid":{"rendered":"https:\/\/latraversiere.fr\/?p=28349"},"modified":"2025-06-12T23:44:50","modified_gmt":"2025-06-12T21:44:50","slug":"audacieuse-et-fascinante-jasmine-choi","status":"publish","type":"post","link":"https:\/\/latraversiere.fr\/en\/webzine\/portrait\/audacieuse-et-fascinante-jasmine-choi\/","title":{"rendered":"Bold and Fascinating Jasmine Choi"},"content":{"rendered":"

<\/p>\n

Las Vegas, 2012. Fortieth anniversary of the NFA (National Flute Association). I attend a concert by Jasmine Choi for the first time\u2026 What a surprise! Huge success: the audience is on their feet! Later, David Straubinger, our mutual flute maker, brings us together for a memorable dinner with many of his friends. It was, for each of us, a first invitation to the American convention. Since then, our paths have kept crossing\u2026<\/p>\n

<\/strong><\/p>\n

Jasmine Choi\u2019s activity is wide-ranging and seemingly limitless. Her enthusiasm for championing our instrument, expanding its audience and repertoire, takes paths that previous generations could never have imagined! It is not up to us to decide whether this or that video has a legitimate place here or there. What I retain is that each, in its own way, demonstrates Jasmine Choi\u2019s incredible instrumental and musical mastery, as well as her insatiable curiosity for all musical styles: classical, jazz, pop, or even beatbox!<\/p>\n

The portrait of Jasmine Choi that we offer you is nourished by countless concerts, recordings, tours, and publications \u2013 it would have been easy to simply list them and fill entire pages! But we chose to go further back in her story, to better understand how her past, her training, her teachers, her dual Korean and American culture, not to mention her gifts, her passion, and her fierce determination, have all contributed to developing such a rich and varied exceptional artistic personality!<\/p>\n

TRAVERSI\u00c8RES MAGAZINE: You were born in Korea and raised in a family of classical musicians. How did this environment influence your musical journey?<\/strong><\/span><\/p>\n

\"\"<\/a>
Jasmine Choi at age 10<\/figcaption><\/figure>\n

JASMINE CHOI<\/strong>: I feel extremely fortunate to have been surrounded by classical music since birth. Until I was 5 or 6, I thought everyone played an instrument! The idea of making music came very naturally to me, but it was when I discovered the flute that I truly fell in love.<\/p>\n

As we all know, music is another form of language that allows for expression \u2013 and for this reason, my first language was probably classical music, even before I learned Korean. Later, when I had to learn English, German, or even the language of jazz from scratch, I remember immersing myself fully in these new languages by listening intensely. Because it\u2019s not just about hitting the right notes or saying the right words: what\u2019s just as important is knowing how to express them \u2013 in what context, with what intonation, what intent, etc.<\/p>\n

Growing up, I was lucky enough to attend many concerts by my grandfather, who was a conductor, as well as those of renowned classical musicians from abroad.<\/p>\n

The flute now holds an important place in Korean culture. How did this influence your choice of the instrument, after having started very young with violin and then piano?<\/strong><\/span><\/p>\n

The flute has indeed become very popular in Korea over the past two decades. Over the years, I\u2019ve seen a dramatic rise in the number of flute students, along with significantly improved playing and musical understanding.<\/p>\n

But when I started, the flute was not as common a choice as piano or string instruments. I chose the flute because I followed my heart, so to speak.<\/p>\n

More precisely, it was while playing the recorder for a school music assignment that I truly fell in love with wind instruments. The recorder enchanted me. I played it day and night! But soon, I found its range limited \u2013 not surprising, considering I was self-taught and didn\u2019t know enough fingerings to play many different notes! I couldn\u2019t play all the tunes I had in my head! A girl three years older than me played the flute upstairs in our building. I heard her and it seemed like her flute had more notes than my recorder! That made me want to start playing the flute \u2013 which soon became the passion of my life.<\/p>\n

How were those years between your beginnings on the flute and your admission to the Curtis Institute of Music?<\/strong><\/span><\/p>\n

During my school years, we had a program that included music. I practiced flute all the time! Everything happened very fast: a year after I started, I performed Haydn\u2019s Concerto in D major<\/em> in public with the Gongju Chamber Orchestra. To progress, I wanted to attend the Art Middle School<\/em> in Seoul, which was two hours from Daejeon, where we lived. I passed the entrance audition. But at 12, it was hard to be away from my family. I was very lonely there, living with a cousin, and often my meals were just bread and orange juice! I was homesick. But when I played, I forgot how lonely I felt. So I played all the time! My parents wanted me to come home, but I held on\u2026<\/p>\n

As high school approached, I felt the need to escape that small music world with little challenge and decided to study in the United States. Again, my parents disagreed, but they found me housing and a school \u2013 unfortunately with no music program. I kept practicing my flute and in the middle of the year, I discovered the Curtis Institute of Music<\/em> program. Only one place per year \u2013 what a challenge! I worked day and night to prepare for the audition and was accepted into the class of Julius Baker and Jeffrey Khaner. I was 16.<\/p>\n

You entered the Curtis Institute of Music at only 16, then continued at the Juilliard School. Can you tell us about those formative years?<\/strong><\/span><\/p>\n

Entering Curtis Institute<\/em> so young was a tremendous privilege, but also an extremely demanding time for me. I had to learn a new language, adapt to a new culture, follow a rigorous academic program with very high expectations, all while also attending a local high school, the Philadelphia High School<\/em>.<\/p>\n

\"\"<\/a>
With Julius Baker, 2002<\/figcaption><\/figure>\n

In addition, I became the guardian of my younger brother, who came to live with me \u2013 so in a way, I was also a full-time mother to a teenager. But my dream of becoming a real musician made all those obstacles seem secondary.<\/p>\n

I was especially thrilled to be able to learn so much about music in the ideal environment that Curtis<\/em> and Juilliard<\/em> provided. Those years were incredibly enriching, not just through the classes, chamber music, and orchestra rehearsals with legendary teachers, but also through contact with exceptional fellow musicians who deeply inspired me.<\/p>\n

At the same time, I\u2019ve always been curious and fascinated by the idea of studying in Paris, for example. Recently, I had the chance to talk with students from the CNSM in Paris and was surprised by how different the academic programs are between the U.S. and France. In the U.S., during undergraduate studies, students still have many classes, assignments, and musical activities that fill their days and make it difficult to find enough time to practice or do other things. That was my experience in university. So I was genuinely surprised to see that students in France generally have more free time. Of course, every system has its pros and cons, but the key is to know how to manage and make the most of one\u2019s own learning conditions.<\/p>\n

Which teachers or mentors particularly influenced your development?<\/strong><\/span><\/p>\n

I was incredibly lucky to study with a true living legend, the late Julius Baker (1915\u20132003, soloist with the New York Philharmonic<\/em>). I was the very last student he accepted, and I\u2019ll be forever grateful for everything he shared with me.<\/p>\n

Among the thousand valuable lessons I received […], if I had to keep only one, it would be the ability to find my own tone color<\/span><\/div>\n

Beyond his flute teaching, it was a surreal experience to hear about his life. Born in 1915, he was friends with artists, composers, and performers like Picasso, Prokofiev, Hindemith, Poulenc, Heifetz, and Oistrakh, to name a few. He told me incredible stories about his years with the New York Philharmonic<\/em> and Leonard Bernstein, his first recital at Carnegie Hall<\/em>, etc. Just knowing I\u2019d be playing for him at my next lesson already made me a better musician in many ways.<\/p>\n

At first, I worked extremely hard because I feared the school had made a mistake by accepting me! The classes were demanding. For example, we had to master a piece in one week, including accompaniment. Julius Baker wanted me to choose how I played and often said, \u201cthe best teacher is yourself.\u201d But he was very encouraging.<\/p>\n

At the same time, we had classes with Jeffrey Khaner, principal flute of the Philadelphia Orchestra<\/em>, who was a perfectionist and instilled in us a discipline and work ethic for which I\u2019m still immensely grateful. He still teaches at both the Curtis Institute of Music<\/em> and the Juilliard School<\/em>, and I regularly see how successful his students are in auditions and orchestral competitions.<\/p>\n

Among the many valuable lessons I received from these two teachers, if I had to retain only one, it would be the ability to find my own tone color. It takes great pedagogical skill to guide students in the right direction while allowing them to keep their musical personality, so that each retains their own style rather than fitting into a uniform mold.<\/p>\n

I also listened to a huge number of recordings by Emmanuel Pahud and James Galway, who influenced me in the most positive way possible!<\/p>\n

You spent six years with the Cincinnati Orchestra. How did you approach this first position?<\/strong><\/span><\/p>\n

The audition was just a few days after the end of the semester. I had just graduated from the Juilliard School<\/em>. I went to Cincinnati, not even quite sure where it was! But I knew the 47 orchestral excerpts required for the final. I passed the first and second rounds and then started to panic at the thought of actually winning the final! And that\u2019s exactly what happened. At 22, I had won my first position and was so shocked it took me a full week to tell my family! The contract was only for one year, then a new audition was held. I worked hard again and won again. I stayed in that orchestra for six years, where I loved my work and colleagues.<\/p>\n

And what pride to be the first Korean musician to hold such a position in a major U.S. orchestra! That was still the case when, in 2012, I was appointed principal flute of the Vienna Symphony Orchestra in Austria. Once again, the first member of this fabulous ensemble to be born in Korea!<\/p>\n

\"\"<\/a>
The flute section of the Vienna Symphony Orchestra in 2012. Jasmine Choi and Rudolf Huber, flutes, Raphael Leone, piccolo<\/figcaption><\/figure>\n

After holding these prestigious positions, you chose to fully dedicate yourself to a solo career. What motivated this decision?<\/strong><\/span><\/p>\n

Being part of these fantastic orchestras was an incredibly enriching experience. But at times, I felt that the schedule prevented me from exploring other horizons: I longed for a more creative life, to embark on new, more personal projects, to organize my own calendar, concerts, repertoire\u2014and also my rest periods. This decision took a lot of courage, but it is one of the best I have ever made in my life.<\/p>\n

[…] a full-time solo career must be a thoughtful choice, not an excuse to avoid orchestras.<\/span><\/div>\n

However, when young flutists ask me about this today, I always advise them to experience orchestral life before going solo. As a flutist, there are countless symphonic masterpieces that can only be played in an orchestra. Not to mention everything one learns from playing with colleagues, conductors, and soloists. In other words, a full-time solo career must be a thoughtful choice, not an excuse to avoid orchestras. I’m convinced that life is much richer when we diversify our experiences. It breaks us out of traditional molds and opens us up to new ideas.<\/p>\n

Since 2015, I\u2019ve been principal flute of the Festival Orchestra of Lincoln Center<\/em> in New York (formerly Mostly Mozart<\/em>) every summer for five weeks. I love every second spent playing in this fabulous orchestra, and it balances perfectly with my solo career.<\/p>\n

How would you describe your approach to interpretation? Are there specific elements you look for in your playing?<\/strong><\/span><\/p>\n

In short, I try to be as transparent as possible in order to adapt to the work, rather than the other way around. Ideally, interpretation should be like glass rather than a mirror. To faithfully convey the composer\u2019s message, we must ensure that our interpretation doesn\u2019t interfere with their intent.<\/p>\n

I like to compare this to acting: if you perfectly recite your lines without knowing what role you\u2019re playing or understanding the plot of the film, your performance risks being completely off. The same applies to music. That\u2019s why I always enjoy studying the context of a piece\u2014the composer\u2019s life, their repertoire, contemporaries, historical background, and the performance practices of the time. There\u2019s always so much to learn and consider, and I find this aspect of music deeply inspiring and rewarding.<\/p>\n

Your curiosity has led you to transcribe major works for the flute, including violin concertos by Mendelssohn and Tchaikovsky. What drives you to explore these repertoires?<\/strong><\/span><\/p>\n

I see music as a whole, without strict distinctions between genres or instruments. When a piece is beautifully written, fits the instrument well, and is well performed, it can always touch the listener\u2019s heart and provide a meaningful experience. My transcriptions are first and foremost the result of my passion for these works, far more than any intention to prove something with the flute\u2014especially since I literally grew up listening to them, as my mother taught violin at home.<\/p>\n

I see music as a whole, without strict distinctions between genres or instruments.<\/span><\/div>\n

I loved learning them on the flute, whether it was the concertos or other pieces like Sarasate\u2019s Zigeunerweisen<\/em>, Saint-Sa\u00ebns\u2019 Introduction and Rondo Capriccioso<\/em>, Paganini\u2019s Caprices<\/em>, Khachaturian\u2019s Concerto<\/em>, and more. The technical challenges of adapting them for the flute seemed insignificant compared to how excited I was by these pieces.<\/p>\n

Today, seeing these works become standards for young flutists, I realize how often our limits are imaginary. At first, people say it\u2019s impossible, then one performer tries it, then ten, then a hundred, then thousands… and suddenly, it becomes a \u201cstandard.\u201d<\/p>\n

You\u2019ve collaborated with many composers and premiered more than 15 flute concertos written for you. How do you work with them?<\/strong><\/span><\/p>\n

The process of creating a new concerto is invaluable. As a classical musician, I often face a wall, with so many questions to ask a composer who has long since passed away. So it\u2019s fascinating to be able to work with living composers, to discuss general ideas and themes, shape the tiniest details, and tweak the piece up to the last minute to improve it.<\/p>\n

\"Jasmine<\/a>
Jazz concert. Seoul, December 2022.<\/figcaption><\/figure>\n

Learning a piece that has never been played or recorded is also an enormous pressure, as your first performance becomes the reference for everyone who tackles the piece afterward. But after all, every piece was new at one point, and each had a first performance. It\u2019s a great honor to enrich the flute repertoire and shape a piece alongside the composer.<\/p>\n

One of the most memorable collaborations was with German composer Detlev Glanert, whose work I premiered with the Vienna Symphony<\/em> at the opening concert of the Bregenz Festival, in the presence of the Austrian president. I remember putting all my heart and energy into the piece, to the point where I played it entirely by heart after so much work.<\/p>\n

Another remarkable experience was with Mark Laycock, an American composer and conductor who wrote a concerto inspired by my own life and even titled it Concerto for Jasmine Choi<\/em>. I was completely opposed to the title, but he insisted to the end, claiming my personal story was the foundation of the work. I had the chance to premiere it in Berlin, New York, and then Costa Rica, and each performance was a great success.<\/p>\n

More recently, I premiered a concerto by Texu Kim, a renowned Korean composer, written for a classical flute and a traditional Korean orchestra. This project was exciting in many ways. I had to experiment with a new way of producing sound, approaching the daegeum<\/em>, the Korean equivalent of the Western flute. Performing alongside all these traditional Korean instruments created a completely new sound wave combination\u2014very different from what one typically hears in classical concerts.<\/p>\n

You have recorded a wide range of repertoire, from Mozart to Claude Bolling, including Brahms and Paganini. How do you choose the works you record?<\/strong><\/span><\/p>\n

I\u2019ve been fortunate to freely choose my repertoire. For me, each recording is like a musical photo album\u2014 a snapshot of how I played at a specific moment in my life. My playing evolves significantly from year to year, and when I listen back to my older recordings, I can immediately tell which period they\u2019re from.<\/p>\n

It\u2019s very likely that in a few years, I will play these same works differently, with a different approach and style. I enjoy observing this musical evolution, which in a way reflects the evolution of my own life.<\/p>\n

The profession of musician has changed a lot in recent years, especially with the rise of digital technology. How do you perceive these changes and how do you adapt to them?<\/strong><\/span><\/p>\n

\"\"<\/a>
La C\u00f4te Fl\u00fbte Festival. Switzerland, 2020<\/figcaption><\/figure>\n

Today, it\u2019s undeniable that social media and digital technologies are an integral part of the musical world. Of course, the experience of a live concert is still unmatched by any virtual experience. But paradoxically, these tools allow us to inspire each other through videos, to keep up with music news, and to interact with fans around the world.<\/p>\n

In a way, this discussion about digital media is similar to the one that took place in the early 20th century with the advent of audio recordings. At the time, many purists doubted their impact, and yet the recording industry enabled a massive expansion and democratization of classical music. The important thing is to accept these changes and make positive use of them.<\/p>\n

<\/div>\n

What role do you see for digital technology in the teaching and dissemination of classical music today?<\/strong><\/span><\/p>\n

Nowadays, it\u2019s incredibly easy to access a multitude of online resources: historical knowledge, concert recordings, online lessons… If these tools are used wisely, they can be very helpful.<\/p>\n

Personally, I still learn a lot through in-person lessons, lectures, discussions, or reading quality books on music. But digital resources can be extremely practical in many situations.<\/p>\n

Once again, the key is to use these tools with discernment\u2014choosing them intentionally rather than consuming them passively or excessively.<\/p>\n

You teach at prestigious institutions such as the Juilliard School, the Curtis Institute, and the University of Vienna. What motivates you to share your knowledge?<\/strong><\/span><\/p>\n

\"Portrait<\/a>
Curtis Institute in April 2025, with Julin Cheung, winner of the Larrieu Competition<\/figcaption><\/figure>\n

Yes, I regularly give masterclasses and lessons, particularly at Curtis<\/em> and Juilliard<\/em>. Besides the fact that I love teaching and guiding young students, I see it as a way for musicians to \u201cgive back\u201d what they have received. I wouldn\u2019t be where I am today without the exceptional teachers who shaped my journey.<\/p>\n

Classical music, in particular, requires more personalized guidance than almost any other discipline. Teaching is therefore a natural extension of our vocation as musicians: to pass on to future generations the traditions, ideas, and knowledge in the best way possible. This is how classical performers have learned through the centuries, and I feel privileged to be able to continue this transmission while also bringing in new perspectives.<\/p>\n

It\u2019s with these goals in mind that I happily accepted my appointment as a professor at Indiana University starting this upcoming academic year!<\/p>\n

You have published teaching methods for beginner and advanced flutists. What is your teaching philosophy and how did you design these works?<\/strong><\/span><\/p>\n

Yes, I have written methods for both beginner and advanced flutists. The idea for these books came from the publisher (Theodore Presser \u2013 www.presser.com\/jasmine-choi<\/a>), but once I started writing, my main goal was not only to explain everything precisely and clearly, but also to make the learning process as enjoyable as possible.<\/p>\n

Because the very essence of music should remain a \u201cplay\u201d and not a source of stress. I also noticed that many beginner books lacked depth, so I tried to cover all the fundamental aspects of flute playing in detail, so that any beginner could understand them.<\/p>\n

I wrote these methods during the pandemic, and earlier this year, I also transformed the entire beginner program into online video lessons. These videos will be available in the fall, in English and Korean, so that students can learn at home, at their own pace.<\/p>\n

What have been the biggest challenges of your career, and how did you overcome them?<\/strong><\/span><\/p>\n

I\u2019ve faced many challenges, but in hindsight, each one has shaped me into a better person and a better musician.<\/p>\n

At 12, I was a fearless girl who decided to leave her hometown of Daejeon to study music in Seoul. My parents eventually agreed, but I had no idea how hard it would be to live away from my family. Every night I cried from homesickness, wondering if I should go back home as my parents suggested. Those moments of doubt forced me to ask myself fundamental questions: \u201cHow much do I love music? What is the meaning of life?\u201d and so on.<\/p>\n

Then, after a few months, I realized that music was my calling. From that moment on, I never looked back or doubted my choice again.<\/p>\n

[…] as long as my ten fingers are healthy and I can play, everything will be fine.<\/span><\/div>\n

But an even greater challenge awaited me at 18. While I was in my third year at the Curtis Institute<\/em>, I developed a nerve injury in my right hand that no one could explain or treat. I saw more than ten doctors\u2014some even advised me to quit the flute and find another career. To me, hearing that at such a young age felt like a death sentence, and I took it very seriously. The flute was my entire life, and without it, I didn\u2019t know who I was.<\/p>\n

Over the next six months, I was heartbroken, depressed, and started to envy all the musicians around me who could play as much as they wanted. I went to concerts and cried because the music was so beautiful, and I couldn\u2019t play it. But I promised myself that if one day I could play again, I would never complain about anything and would consider every day a miracle.<\/p>\n

After those six months of total uncertainty, I gradually began to hold my flute again. And the rest is history: today, I\u2019m infinitely grateful to have overcome that ordeal. Since then, other obstacles have come my way, but I always remind myself that as long as my ten fingers are healthy and I can play, everything will be fine.<\/p>\n

What are your upcoming projects?<\/strong><\/span><\/p>\n

\"\"<\/a><\/p>\n

Next week, I will premiere Alexey Shor\u2019s Second Flute Concerto in Dubai, before heading to Philadelphia to teach students at the Curtis Institute of Music<\/em>. Then, a completely new and intimidating challenge awaits me: performing Sarasate\u2019s Zigeunerweisen<\/em> without a conductor! I\u2019ll give four concerts with the Saint Paul Chamber Orchestra<\/em>, where we\u2019ll also perform Mozart\u2019s Concerto in D major<\/em>.<\/p>\n

After that, I\u2019ll give recitals in California and Texas, then travel to Tokyo to perform Mendelssohn\u2019s Violin Concerto<\/em> on the flute. I\u2019ll then return to the Mozartfest<\/em> in W\u00fcrzburg to play Reinecke\u2019s Concerto<\/em>.<\/p>\n

This summer, I\u2019ll be back in New York for the Festival Orchestra<\/em> at the Lincoln Center<\/em>. And this year, I will also launch my own music festival in my hometown of Daejeon, begin my new position as flute professor at Indiana University, and record a new concerto\u2014which I\u2019m especially excited about!<\/p>\n

You have already explored many repertoires and collaborations. Are there still works or partnerships you dream of tackling?<\/strong><\/span><\/p>\n

I don\u2019t see repertoires or concerts as things to \u201ctackle,\u201d but rather as opportunities to fully savor. What brings me the greatest joy is playing with musicians who are in perfect musical harmony with me, without even needing to say much. So if I had to express a wish, it would simply be to play more often with those musicians with whom the connection is natural and deep.<\/p>\n

At the 2016 International Flute Convention in Paris, you performed with guitarist Benjamin Beirs. What are the best instrumental pairings with the flute in your opinion, and why?<\/strong><\/span><\/p>\n

Yes, that concert was a real pleasure! Flute and guitar make an ideal duo, with a beautiful repertoire and perfect complementarity. I also really enjoy playing duets with harp, and of course, with piano, the possibilities are endless.<\/p>\n

But I also like exploring more unusual combinations. When I discover an exceptional piece with unconventional instrumentation, I gather musicians to perform it. And conversely, when I want to play with certain musicians, I look for repertoire that fits that specific ensemble. So there is no fixed rule: I let my desires guide me.<\/p>\n

You were part of the jury for the Maxence Larrieu International Competition last November in Nice, where the winner was the young 17-year-old American Julin Cheung. How do you think the selection criteria have evolved over the past 20 years, in France and internationally?<\/strong><\/span><\/p>\n

I loved listening to these incredibly talented young flutists! And of course, I was proud to see a student from my alma mater<\/em> win the prize.<\/p>\n

The evolution of competitions, whether for flute or other instruments, has been very positive. Thanks to the internet, the boundaries between different playing styles are fading, and the general level keeps rising. Moreover, with live broadcasts, results are more transparent and fair.<\/p>\n

Looking at the history of the flute, one can see that instrument making and playing techniques have evolved greatly. It is therefore natural to witness a constant improvement in level, and this progress will only accelerate in the future.<\/p>\n

\"\"<\/a>
Maxence Larrieu. Maxence Larrieu International Competition, November 2024<\/figcaption><\/figure>
\nYou play on a Straubinger gold flute. Can you tell us about your relationship with this brand and its creator, David Straubinger? Why are these flutes and pads so renowned? And what does the \u201cStraubinger family\u201d mean to you?<\/strong><\/span><\/p>\n

I discovered this flute in 2012, during my first visit to David Straubinger\u2019s workshop in Indianapolis. He had just finished a 14K gold flute and offered me to try it while he was repairing mine. It was love at first sight! From the first notes, I loved the warmth of the sound. Then, I realized how smooth the mechanics were and how natural the expression and control felt.<\/p>\n

We also had a long discussion about intonation, and David showed me all his measuring devices that he uses for making his flutes. Since that day, we have become like a family, and I feel incredibly lucky to play on a flute handmade by David himself.<\/p>\n

As for Straubinger pads, they are highly prized by professional flutists because they remain firm and durable over time, allowing better sound clarity and greater responsiveness from the flute. [See the Lutherie article on David Straubinger and Straubinger pads in Traversi\u00e8res Magazine No. 153<\/a>]<\/p>\n

Tell us about the anecdote of repairing your flute after it got splashed with wine!<\/strong><\/span><\/p>\n

Ah, I think you\u2019re referring to the incident where I spilled water trying to drink too quickly between pieces during a concert in New York. It\u2019s funny how that story turned into a flute splashed with wine!<\/p>\n

Anyway, fortunately, David Straubinger was in the room with his tools. After the concert, he took my flute to his car and repaired it on the spot, allowing me to continue my tour the very next day.<\/p>\n

Since that event, I\u2019ve become aware of the risk of not having a backup instrument. Now, I always travel with two identical flutes \u2013 a lesson learned the hard way!<\/p>\n

You are a true star in Korea and several Asian countries. Does this recognition allow you to engage in cultural promotion, notably as an ambassador for the Daejeon Foundation for Culture and the Arts, or by participating in international events such as the 2018 PyeongChang Winter Olympics?<\/strong><\/span><\/p>\n

For me, the flute is much more than just a profession: it\u2019s a lifelong passion and a mission.<\/span><\/div>\n

For me, the flute is much more than just a profession: it\u2019s a lifelong passion and a mission. What matters to me is not only playing, but also understanding the positive impact I can have on the community through music.<\/p>\n

I generally accept projects that seem beneficial to the public or to the flute community. That\u2019s how I came to publish my transcriptions, write flute methods, create a flute case called Smartcase<\/em> for professional flutists (made by Kalb Manufaktur \u2013 www.kalbmanufaktur.com\/en\/jasmine-choi-flutecase<\/a>), produce YouTube videos and online courses, collaborate with musicians from other genres, support young talents, write my own compositions, and even take time to answer questions from young flutists.<\/p>\n

\"Jasmine<\/a>
With music students from an elementary school. Chongju (Korea), 2015<\/figcaption><\/figure>\n

As you mentioned, I\u2019m also involved in the cultural scene of my hometown, Daejeon, where I\u2019ve been a cultural ambassador since 2016, and I had the honor to perform at the Olympics. (I also often bring my flute to non-musician friends\u2019 birthday parties to play Happy Birthday!)<\/p>\n

I always try to see the bigger picture in every project: if it can be useful to someone, then it\u2019s worth doing. Once I commit, I let myself be guided. Often, it\u2019s very demanding and I wonder why I agreed, but having a purpose beyond my own musical pleasure gives me the strength to see it through \u2013 and in the end, it\u2019s a huge satisfaction.<\/p>\n

<\/p>","protected":false},"excerpt":{"rendered":"

Discover our portrait of Jasmine Choi, a unique artistic personality, rich in passion, talent, and determination.
\nPhoto: \u00a9 Hyemi Kim<\/p>\n","protected":false},"author":1,"featured_media":28415,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[77,568],"tags":[],"yoast_head":"\nBold and Fascinating Jasmine Choi - LA TRAVERSIERE The french flute association<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/latraversiere.fr\/webzine\/entretien\/audacieuse-et-fascinante-jasmine-choi\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"[:fr]Audacieuse et Fascinante Jasmine Choi[:en]Bold and Fascinating Jasmine Choi[:] - LA TRAVERSIERE The french flute association\" \/>\n<meta property=\"og:description\" content=\"[:fr]D\u00e9couvrez notre portrait de Jasmine Choi, une personnalit\u00e9 artistique unique, riche de passion, de talent et de volont\u00e9. Photo : \u00a9 Hyemi Kim[:en]Discover our portrait of Jasmine Choi, a unique artistic personality, rich in passion, talent, and determination. Photo: \u00a9 Hyemi Kim[:]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/latraversiere.fr\/webzine\/entretien\/audacieuse-et-fascinante-jasmine-choi\/\" \/>\n<meta property=\"og:site_name\" content=\"LA TRAVERSIERE The french flute association\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/traversieres\/\" \/>\n<meta property=\"article:published_time\" content=\"2025-05-15T14:41:38+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2025-06-12T21:44:50+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/latraversiere.fr\/wp-content\/uploads\/2025\/05\/Portrait-JasmineChoi-Une.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1197\" \/>\n\t<meta property=\"og:image:height\" content=\"1024\" \/>\n<meta name=\"twitter:card\" content=\"summary\" \/>\n<meta name=\"twitter:creator\" content=\"@La_Traversiere\" \/>\n<meta name=\"twitter:site\" content=\"@La_Traversiere\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Thomas MALLET\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"57 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Organization\",\"@id\":\"https:\/\/latraversiere.fr\/#organization\",\"name\":\"La Traversi\\u00e8re - Association Fran\\u00e7aise de la Fl\\u00fbte\",\"url\":\"https:\/\/latraversiere.fr\/\",\"sameAs\":[\"https:\/\/www.facebook.com\/traversieres\/\",\"https:\/\/www.instagram.com\/la_traversiere\/\",\"https:\/\/www.youtube.com\/channel\/UC46MEQZI2BfRZNFUFqc59Sw\",\"https:\/\/twitter.com\/La_Traversiere\"],\"logo\":{\"@type\":\"ImageObject\",\"@id\":\"https:\/\/latraversiere.fr\/#logo\",\"inLanguage\":\"en-US\",\"url\":\"https:\/\/latraversiere.fr\/wp-content\/uploads\/2018\/01\/LOGO-Traversiere-SITE-1.png\",\"contentUrl\":\"https:\/\/latraversiere.fr\/wp-content\/uploads\/2018\/01\/LOGO-Traversiere-SITE-1.png\",\"width\":539,\"height\":200,\"caption\":\"La Traversi\\u00e8re - Association Fran\\u00e7aise de la Fl\\u00fbte\"},\"image\":{\"@id\":\"https:\/\/latraversiere.fr\/#logo\"}},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/latraversiere.fr\/#website\",\"url\":\"https:\/\/latraversiere.fr\/\",\"name\":\"LA TRAVERSIERE The french flute association\",\"description\":\"\",\"publisher\":{\"@id\":\"https:\/\/latraversiere.fr\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/latraversiere.fr\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"en-US\"},{\"@type\":\"ImageObject\",\"@id\":\"https:\/\/latraversiere.fr\/webzine\/entretien\/audacieuse-et-fascinante-jasmine-choi\/#primaryimage\",\"inLanguage\":\"en-US\",\"url\":\"https:\/\/latraversiere.fr\/wp-content\/uploads\/2025\/05\/Portrait-JasmineChoi-Une.jpg\",\"contentUrl\":\"https:\/\/latraversiere.fr\/wp-content\/uploads\/2025\/05\/Portrait-JasmineChoi-Une.jpg\",\"width\":1197,\"height\":1024,\"caption\":\"Portrait - AUDACIEUSE ET FASCINANTE JASMINE CHOI\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/latraversiere.fr\/webzine\/entretien\/audacieuse-et-fascinante-jasmine-choi\/#webpage\",\"url\":\"https:\/\/latraversiere.fr\/webzine\/entretien\/audacieuse-et-fascinante-jasmine-choi\/\",\"name\":\"[:fr]Audacieuse et Fascinante Jasmine Choi[:en]Bold and Fascinating Jasmine Choi[:] - LA TRAVERSIERE The french flute association\",\"isPartOf\":{\"@id\":\"https:\/\/latraversiere.fr\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/latraversiere.fr\/webzine\/entretien\/audacieuse-et-fascinante-jasmine-choi\/#primaryimage\"},\"datePublished\":\"2025-05-15T14:41:38+00:00\",\"dateModified\":\"2025-06-12T21:44:50+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/latraversiere.fr\/webzine\/entretien\/audacieuse-et-fascinante-jasmine-choi\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/latraversiere.fr\/webzine\/entretien\/audacieuse-et-fascinante-jasmine-choi\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/latraversiere.fr\/webzine\/entretien\/audacieuse-et-fascinante-jasmine-choi\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Accueil\",\"item\":\"https:\/\/latraversiere.fr\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"[:fr]Audacieuse et Fascinante Jasmine Choi[:en]Bold and Fascinating Jasmine Choi[:]\"}]},{\"@type\":\"Article\",\"@id\":\"https:\/\/latraversiere.fr\/webzine\/entretien\/audacieuse-et-fascinante-jasmine-choi\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/latraversiere.fr\/webzine\/entretien\/audacieuse-et-fascinante-jasmine-choi\/#webpage\"},\"author\":{\"@id\":\"https:\/\/latraversiere.fr\/#\/schema\/person\/49ed1d29827f483eda3a44dec9c62b39\"},\"headline\":\"Bold and Fascinating Jasmine Choi\",\"datePublished\":\"2025-05-15T14:41:38+00:00\",\"dateModified\":\"2025-06-12T21:44:50+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/latraversiere.fr\/webzine\/entretien\/audacieuse-et-fascinante-jasmine-choi\/#webpage\"},\"wordCount\":11324,\"publisher\":{\"@id\":\"https:\/\/latraversiere.fr\/#organization\"},\"image\":{\"@id\":\"https:\/\/latraversiere.fr\/webzine\/entretien\/audacieuse-et-fascinante-jasmine-choi\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/latraversiere.fr\/wp-content\/uploads\/2025\/05\/Portrait-JasmineChoi-Une.jpg\",\"articleSection\":[\"Entretiens\",\"Portrait\"],\"inLanguage\":\"en-US\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/latraversiere.fr\/#\/schema\/person\/49ed1d29827f483eda3a44dec9c62b39\",\"name\":\"Thomas MALLET\",\"image\":{\"@type\":\"ImageObject\",\"@id\":\"https:\/\/latraversiere.fr\/#personlogo\",\"inLanguage\":\"en-US\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/74ac6f0286bcefc0974d6d00c3f96d33?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/74ac6f0286bcefc0974d6d00c3f96d33?s=96&d=mm&r=g\",\"caption\":\"Thomas MALLET\"}}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"[:fr]Audacieuse et Fascinante Jasmine Choi[:en]Bold and Fascinating Jasmine Choi[:] - LA TRAVERSIERE The french flute association","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/latraversiere.fr\/webzine\/entretien\/audacieuse-et-fascinante-jasmine-choi\/","og_locale":"en_US","og_type":"article","og_title":"[:fr]Audacieuse et Fascinante Jasmine Choi[:en]Bold and Fascinating Jasmine Choi[:] - LA TRAVERSIERE The french flute association","og_description":"[:fr]D\u00e9couvrez notre portrait de Jasmine Choi, une personnalit\u00e9 artistique unique, riche de passion, de talent et de volont\u00e9. Photo : \u00a9 Hyemi Kim[:en]Discover our portrait of Jasmine Choi, a unique artistic personality, rich in passion, talent, and determination. Photo: \u00a9 Hyemi Kim[:]","og_url":"https:\/\/latraversiere.fr\/webzine\/entretien\/audacieuse-et-fascinante-jasmine-choi\/","og_site_name":"LA TRAVERSIERE The french flute association","article_publisher":"https:\/\/www.facebook.com\/traversieres\/","article_published_time":"2025-05-15T14:41:38+00:00","article_modified_time":"2025-06-12T21:44:50+00:00","og_image":[{"width":1197,"height":1024,"url":"https:\/\/latraversiere.fr\/wp-content\/uploads\/2025\/05\/Portrait-JasmineChoi-Une.jpg","type":"image\/jpeg"}],"twitter_card":"summary","twitter_creator":"@La_Traversiere","twitter_site":"@La_Traversiere","twitter_misc":{"Written by":"Thomas MALLET","Est. reading time":"57 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Organization","@id":"https:\/\/latraversiere.fr\/#organization","name":"La Traversi\u00e8re - Association Fran\u00e7aise de la Fl\u00fbte","url":"https:\/\/latraversiere.fr\/","sameAs":["https:\/\/www.facebook.com\/traversieres\/","https:\/\/www.instagram.com\/la_traversiere\/","https:\/\/www.youtube.com\/channel\/UC46MEQZI2BfRZNFUFqc59Sw","https:\/\/twitter.com\/La_Traversiere"],"logo":{"@type":"ImageObject","@id":"https:\/\/latraversiere.fr\/#logo","inLanguage":"en-US","url":"https:\/\/latraversiere.fr\/wp-content\/uploads\/2018\/01\/LOGO-Traversiere-SITE-1.png","contentUrl":"https:\/\/latraversiere.fr\/wp-content\/uploads\/2018\/01\/LOGO-Traversiere-SITE-1.png","width":539,"height":200,"caption":"La Traversi\u00e8re - Association Fran\u00e7aise de la Fl\u00fbte"},"image":{"@id":"https:\/\/latraversiere.fr\/#logo"}},{"@type":"WebSite","@id":"https:\/\/latraversiere.fr\/#website","url":"https:\/\/latraversiere.fr\/","name":"LA TRAVERSIERE The french flute association","description":"","publisher":{"@id":"https:\/\/latraversiere.fr\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/latraversiere.fr\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"en-US"},{"@type":"ImageObject","@id":"https:\/\/latraversiere.fr\/webzine\/entretien\/audacieuse-et-fascinante-jasmine-choi\/#primaryimage","inLanguage":"en-US","url":"https:\/\/latraversiere.fr\/wp-content\/uploads\/2025\/05\/Portrait-JasmineChoi-Une.jpg","contentUrl":"https:\/\/latraversiere.fr\/wp-content\/uploads\/2025\/05\/Portrait-JasmineChoi-Une.jpg","width":1197,"height":1024,"caption":"Portrait - AUDACIEUSE ET FASCINANTE JASMINE CHOI"},{"@type":"WebPage","@id":"https:\/\/latraversiere.fr\/webzine\/entretien\/audacieuse-et-fascinante-jasmine-choi\/#webpage","url":"https:\/\/latraversiere.fr\/webzine\/entretien\/audacieuse-et-fascinante-jasmine-choi\/","name":"[:fr]Audacieuse et Fascinante Jasmine Choi[:en]Bold and Fascinating Jasmine Choi[:] - LA TRAVERSIERE The french flute association","isPartOf":{"@id":"https:\/\/latraversiere.fr\/#website"},"primaryImageOfPage":{"@id":"https:\/\/latraversiere.fr\/webzine\/entretien\/audacieuse-et-fascinante-jasmine-choi\/#primaryimage"},"datePublished":"2025-05-15T14:41:38+00:00","dateModified":"2025-06-12T21:44:50+00:00","breadcrumb":{"@id":"https:\/\/latraversiere.fr\/webzine\/entretien\/audacieuse-et-fascinante-jasmine-choi\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/latraversiere.fr\/webzine\/entretien\/audacieuse-et-fascinante-jasmine-choi\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/latraversiere.fr\/webzine\/entretien\/audacieuse-et-fascinante-jasmine-choi\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Accueil","item":"https:\/\/latraversiere.fr\/"},{"@type":"ListItem","position":2,"name":"[:fr]Audacieuse et Fascinante Jasmine Choi[:en]Bold and Fascinating Jasmine Choi[:]"}]},{"@type":"Article","@id":"https:\/\/latraversiere.fr\/webzine\/entretien\/audacieuse-et-fascinante-jasmine-choi\/#article","isPartOf":{"@id":"https:\/\/latraversiere.fr\/webzine\/entretien\/audacieuse-et-fascinante-jasmine-choi\/#webpage"},"author":{"@id":"https:\/\/latraversiere.fr\/#\/schema\/person\/49ed1d29827f483eda3a44dec9c62b39"},"headline":"Bold and Fascinating Jasmine Choi","datePublished":"2025-05-15T14:41:38+00:00","dateModified":"2025-06-12T21:44:50+00:00","mainEntityOfPage":{"@id":"https:\/\/latraversiere.fr\/webzine\/entretien\/audacieuse-et-fascinante-jasmine-choi\/#webpage"},"wordCount":11324,"publisher":{"@id":"https:\/\/latraversiere.fr\/#organization"},"image":{"@id":"https:\/\/latraversiere.fr\/webzine\/entretien\/audacieuse-et-fascinante-jasmine-choi\/#primaryimage"},"thumbnailUrl":"https:\/\/latraversiere.fr\/wp-content\/uploads\/2025\/05\/Portrait-JasmineChoi-Une.jpg","articleSection":["Entretiens","Portrait"],"inLanguage":"en-US"},{"@type":"Person","@id":"https:\/\/latraversiere.fr\/#\/schema\/person\/49ed1d29827f483eda3a44dec9c62b39","name":"Thomas MALLET","image":{"@type":"ImageObject","@id":"https:\/\/latraversiere.fr\/#personlogo","inLanguage":"en-US","url":"https:\/\/secure.gravatar.com\/avatar\/74ac6f0286bcefc0974d6d00c3f96d33?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/74ac6f0286bcefc0974d6d00c3f96d33?s=96&d=mm&r=g","caption":"Thomas MALLET"}}]}},"_links":{"self":[{"href":"https:\/\/latraversiere.fr\/en\/wp-json\/wp\/v2\/posts\/28349"}],"collection":[{"href":"https:\/\/latraversiere.fr\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/latraversiere.fr\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/latraversiere.fr\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/latraversiere.fr\/en\/wp-json\/wp\/v2\/comments?post=28349"}],"version-history":[{"count":50,"href":"https:\/\/latraversiere.fr\/en\/wp-json\/wp\/v2\/posts\/28349\/revisions"}],"predecessor-version":[{"id":28418,"href":"https:\/\/latraversiere.fr\/en\/wp-json\/wp\/v2\/posts\/28349\/revisions\/28418"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/latraversiere.fr\/en\/wp-json\/wp\/v2\/media\/28415"}],"wp:attachment":[{"href":"https:\/\/latraversiere.fr\/en\/wp-json\/wp\/v2\/media?parent=28349"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/latraversiere.fr\/en\/wp-json\/wp\/v2\/categories?post=28349"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/latraversiere.fr\/en\/wp-json\/wp\/v2\/tags?post=28349"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}