When Lau Wen Rong joined the Singapore Symphony Orchestra (SSO), he described the milestone as literally “living the dream” he had envisioned for years.
Fast forward through nearly a decade of weekly repertoire, high-stakes performances, and relentless artistic growth, that original dream has evolved into a rich foundation.
Now embarking on his tenth year on stage, the Singaporean trumpeter reflects on how his relationship with the orchestra, his artistry, and his connection to the community have matured as he steps into this milestone season.
A decade in the making, this milestone has transformed not only Wen Rong’s perspective on the orchestra, but also his personal voice within the trumpet section. Where early career focus often leans heavily on execution, time and experience bring a far broader perspective.
“Ten years in, it honestly still feels like a dream come true. Every time I take my seat on stage, I am reminded of just how lucky I am to be here.
Over time, my relationship with the ensemble has deepened into something like a family. There is an incredible culture of kindness and mutual support, and we’ve truly learned to breathe and grow together as one unit.
Within the trumpet section, my playing has matured from a technical focus into a much broader artistic awareness. I’ve developed a far greater sensitivity to tone color and contextual intonation, understanding that good intonation isn’t just a static reading on a tuner, but a dynamic process of blending, balancing, and coloring the orchestral sound together.
A huge thank you to my incredible colleagues in the SSO trumpet section for their unwavering support, brilliant playing, and great camaraderie.”
Across seasons of weekly concerts, the most indelible moments for Wen Rong range from the sweeping, high-energy climaxes of massive orchestral works to the high-stakes intensity of exposed solo performances.
“There have been so many unforgettable moments over the last 9 seasons that it’s hard to pick just one. Naturally, the massive, explosive moments in Mahler, Strauss and Shostakovich always bring incredible energy to the stage. But the moment that still truly gives me goosebumps is the quiet, luminous ending of Richard Strauss’s Ein Heldenleben. After all the immense wall of sound and dramatic momentum, that final, serene resolution is absolute magic.
On the other end of the spectrum, the moments that stick with you most are the ultra-exposed and difficult ones, like performing the Bach Brandenburg Concerto No. 2, or playing the third movement of the Haydn Trumpet Concerto for a room full of VIPs at the SSO Benefit Dinner. Those high-stakes performances are utterly nerve-wracking, but coming out the other side makes them some of the most rewarding memories of the decade.”
Sustaining peak performance through heavy orchestral seasons requires a delicate balance of physical endurance and mental clarity. Over the years, Wen Rong’s approach to preparation has shifted away from performance anxiety toward deliberate headspace protection.
“Maintaining consistency over a heavy orchestral season comes down to how you manage mental energy. A decade ago, a lot of my preparation was weighed down by anxiety – worrying about difficult excerpts or how my playing would be perceived.
Over time, I’ve developed habits that protect my mental headspace. While rigorous physical practice is still the foundation for keeping my playing in peak condition, I now prioritize mindfulness before going on stage.
Through simple meditation and prayer, I tune out unnecessary distractions so I can perform with presence and intention. Crucially, my perspective on performance has matured: I’ve learned to let go of the pursuit of absolute perfection, forgive small mistakes, and not treat myself too harshly. That self-compassion has made all the difference in sustaining long-term consistency.”
Like many local musicians, Wen Rong’s journey began in the Singapore school band programme – a foundational environment that instilled lifelong habits of discipline and collective awareness.
“The school band experience instills values that stay with you for a lifetime. From the very beginning, it taught me absolute discipline – the reality that there are no shortcuts to mastery, and that deliberate practice and putting in the hours are non-negotiable.
Most importantly, early band culture shifts your mindset from the individual to the collective. It taught me that performing in an ensemble is the ultimate form of teamwork, where the music always takes priority over any personal ego.
That is where I learned that true musicianship starts with listening, not playing. Developing the habit to actively listen, match context, and blend with those around you began in those early band rehearsals, and it remains the core of how I approach playing in a professional orchestra today.”
Making the transition from the dense, doubled textures of a full wind band to the exposed acoustic environment of a symphonic brass section required significant technical adaptation.
“Transitioning from the dense acoustics of a wind band to a symphonic brass section required a fundamental shift in both technique and accountability. In the orchestra, the one-to-a-part environment demands complete musical independence—you must rely entirely on your own counting and execution without the safety net of a doubled section.
Acoustically, the range of dynamics and textures becomes far more extreme. I had to learn how to provide a rich, supportive tone beneath the principal trumpet, hone an articulation style that is both crisp and buoyant, and cultivate the confidence to play delicate, ultra-quiet passages where every detail of intonation and tone quality is completely transparent.”
Wen Rong remains deeply connected to Singapore’s local wind community, coaching student groups and observing a rapidly evolving musical landscape.
“It’s been incredibly rewarding to stay connected to the band community, and the evolution in Singapore has been amazing to watch. Compared to when I started out, the culture today is so much more vibrant, with a surge of new ensembles and creative initiatives springing up. The students are noticeably more enthusiastic, and thanks to the dedication of so many outstanding conductors and educators, the overall standard of playing across the island has raised significantly. While there’s always room to grow and push things further, I’m deeply grateful to be part of such a strong, supportive community.”
That dedication to community extends directly into his role as a faculty member at the Yong Siew Toh (YST) Conservatory of Music, teaching in the very halls where his own degree began.
“Returning to YST as a mentor has been a full-circle moment. While helping students improve technically is rewarding, the real fulfillment comes from watching their confidence ignite – that moment when the lightbulb turns on and they begin to trust their own capability.
Looking at this next generation, I certainly recognize the same ambition and doubts I had at their age, but their baseline potential is simply incredible. Working with them is a reciprocal process; I genuinely believe I learn more from observing and guiding them than they take from me, which keeps my own relationship with music continually fresh.”
His pedagogical approach still carries the fundamental principles passed down from his studies at Juilliard with renowned brass pedagogue Raymond Mase, after becoming the first Singaporean brass player admitted to the institution in 2015.
“Looking back a decade later, the biggest takeaway from studying with Mr Raymond Mase at Juilliard is that mastery isn’t a finish line; it’s an ongoing process. Ray instilled in us an insatiable curiosity for the arts and a constant hunger to keep improving. No matter how far along you are in your career, the music always demands that you check your ego at the door; it’s never about you, it’s about serving the art.
And practically speaking, that standard only holds up if you relentlessly protect your fundamentals. No matter what repertoire you’re playing, you always go back to the basics.”
Looking beyond the orchestral stage, personal projects also remain high on his agenda. When asked about his long-held ambition to record an album pairing canonical trumpet repertoire with works by Singaporean composers, Wen Rong confirmed the vision is very much alive.
“It’s still on the drawing board! I haven’t started recording yet, but it’s high on my priority list for this next chapter. I’m currently laying the groundwork, and with any luck, the hope is to have something ready by the end of next year.”
As Wen Rong steps forward into his second decade with the SSO, his artistic horizons continue to expand, defined by a desire to take on new creative challenges and step into more solo spotlight roles.
“For this next chapter, it’s all about growth and stepping out of my comfort zone. I’m eager to challenge myself further nspecifically by bringing some of my dream trumpet concertos to the stage and doing more solo recital work.
The first decade was about building a foundation; this second decade is about reaching for those bucket-list musical milestones.”