Musician Spotlight: Ethan Pernela, viola

A native of Oregon, Ethan Pernela joined the viola section of the San Diego Symphony Orchestra in spring of 2015. Mr. Pernela completed his Bachelor of Music, Master of Music and Graduate Diploma with honors at the New England Conservatory of Music in Boston, where he studied with James Dunham and Martha Strongin Katz. Ethan recently celebrated 10 years with the San Diego Symphony Orchestra last year! 

Tell us about your journey to the San Diego Symphony.
I was born in Fairbanks, Alaska, the youngest of six children. My parents moved there from Pittsburgh in the early 1970s before eventually settling in Oregon when I was 6. Music entered my life in fourth grade through the public-school program, where I began violin. I added piano in sixth grade and later switched to viola at age 13 after my orchestra conductor encouraged me to try it. I quickly fell in love with the instrument’s depth and warmth, and within a year I was principal violist of my youth symphony.

In 1998, I was accepted into the studio of James Dunham at the New England Conservatory in Boston, where I completed my undergraduate studies. I later continued at NEC for my master’s degree and graduate diploma under the guidance of Martha Strongin Katz. Studying with both Jim and Martha shaped me profoundly, as each offered distinct musical perspectives that deeply influenced my development as a violist. It was there that I met my wife, Joanna Morrison, a cellist.

In 2007, Joanna and I both won positions with the Honolulu Symphony and spent eight wonderful years in Hawaii. In 2015, I went on an audition tour, trying out for three major orchestras. My final audition was in San Diego, and I was fortunate enough to win the position here. We moved shortly after and have built our life and family in this incredible community. San Diego truly feels like home.

What is your favorite San Diego Symphony memory so far?
Our Carnegie Hall tour stands out as a career highlight. Another unforgettable memory was sharing the stage with members of the Mariinsky Theatre under Valery Gergiev. The musicians had all traveled from Russia. Some spoke English and some did not, yet music became our shared language. It was one of those moments when you truly feel how music transcends culture and language, and together, we created something beautiful.

Performing Shostakovich with this orchestra has also been especially meaningful. There is a power and emotional intensity in that music that resonates deeply with me, and it has been a privilege to experience that alongside my colleagues.

How do you like to spend your free time when not performing?

I am incredibly blessed to have my wife, three amazing children—two girls and a boy—and a puppy who keeps us all moving.

We enjoy taking our Winnebago into the mountains for camping trips. We love exploring places like Pfeiffer Big Sur State Park, Joshua Tree, and Mammoth Lakes. I grew up camping in Alaska and Oregon, and those memories are very special to me. Creating similar experiences for my children is something I value deeply.

What work are you most looking forward to performing this season at Jacobs Music Center and why?
This season’s Brahms Festival has been a particular highlight. I love Brahms’ intricate counterpoint and the richness of his writing for the viola section. The way the viola weaves between inner harmonies and lyrical lines makes his symphonies especially rewarding to perform.

I am especially looking forward to the Third and Fourth Symphonies. The interplay between sections and the complexity of the writing make them thrilling from inside the orchestra.

What is an interesting fact about yourself that you would like to share?
I have always been drawn not only to music but also to visual art. In high school, I studied photography and ceramics extensively. My ceramics teacher had a profound impact on me, teaching lessons about balance, discipline, and creative expression that still influence how I approach music today.

I spent a summer at Interlochen focusing on music while also minoring in ceramics. The ceramics faculty recognized my work and invited me to return the following year as a teaching assistant. Ultimately, as I prepared for college auditions, I chose to focus entirely on music.

One day, when my children are older, I hope to build a ceramic studio. My first project would be creating a complete handmade dinnerware set for our home.

Please tell us about your instrument, its sound, and the very unique case that keeps it safe when you’re not using it.
While I was living in Hawaii, I began searching for an instrument that would carry me through the next chapter of my career. I contacted Reuning & Son Violins in Boston, a shop I had trusted during my college years, and they told me about a remarkable 1954 viola made in collaboration between Carl Becker, Sr. and Carl Becker, Jr. in Chicago.

What makes this instrument especially meaningful is its history. It was previously owned by Harold Coletta, a respected violist and faculty member at the Yale School of Music, where he taught both undergraduate and graduate students and was deeply involved in chamber music. In 1966, he performed on this very instrument in two historic Carnegie Hall chamber concerts alongside Jascha Heifetz and Gregor Piatigorsky. Knowing that this viola was part of those performances and part of that lineage is both humbling and inspiring.

After Harold Coletta passed away, the instrument was kept in his family’s possession for many years. When they eventually decided to part with it, I was fortunate enough to try it first. From the moment I played it, I felt a depth and resonance that immediately spoke to me. It has a rich, focused core, warmth in the lower register, and clarity that carries beautifully in the hall. These qualities continue to inspire me every time I perform.

Because this instrument holds such personal and historical significance, I worked with Musafia in Cremona, Italy, to design a custom case built specifically for this viola. The interior features a silk Zodiac pattern by Swedish designer Sandra Karlsson, which I had specially printed and sent to Italy for installation. The process took nearly a year from start to finish, and the result is a case as unique as the instrument it protects.

Playing this viola feels like continuing a story that began long before me, and I feel a deep responsibility and gratitude to carry it forward.

Congratulations on your 10-year anniversary here at the San Diego Symphony! What is one thing you've learned in your time here? What is one thing you're looking forward to in the future, perhaps in the next 10 years? 

Ethan Age 10, Oregon

Ethan and Family

The Pernela Family Pup

Ethan's Viola Case