I can imagine wanting to work with this ensemble and this company always.
When they are performing in front of the public, they ought to have a sensation that's relatively easy, if the technical and the interpretive work was done before.
It's just that, when the orchestra look at me, I want them to see a completely involved person who reflects what we rehearsed, and whose function is to make it possible for them to do it.
It has to be able to play at the maximum expression and communication in every style, and the only way you can do that is - like Verdi said - working with a file, every day, little by little, until the orchestra's collective qualities emerge.
As major orchestras around the world are gripped in various kinds of crises and upheaval, we need to be sure that we are bringing up this new generation.
Where my tastes in music are concerned, I'm a real maximalist.
I grew up in an era where an orchestra was like a treasure chest.
It was just that we had this phenomenal honeymoon relationship that just kept on going.
But the important thing is to lie down and fall asleep. That little nap means you wake up fresh again and can continue.
I was lucky that I met the right mentors and teachers at the right moment.
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