David Bates, conductor

Who or what inspired you to take up conducting and pursue a career in music?

When I was young I wasn’t really into sport or reading, nor was I very academic. I didn’t have a special interest until I discovered music when my parents remarried. My stepdad Billy brought his piano to our house and the moment I got hold of it, aged 11, they couldn’t get me off it – I was completely hooked!

Thankfully, my brilliant parents responded to this love by giving me both a piano and a trombone, which I just adored. I soon moved from school music to Saturday morning music at the Junior Royal Academy and then the National Youth Jazz Orchestra. I loved music and realised that this is what I wanted to do with my life. I was lucky to be inspired by a whole series of wonderful teachers.

Who or what are the most significant influences on your musical life?

I suppose that the composers who are obviously the most significant for me are those from the beginning of the 17th century. Monteverdi will always be at the core of my repertoire, but I particularly love Handel and Mozart

I studied singing as a countertenor at the Royal Academy and was hugely influenced by the late great James Bowman and, of course, our own beloved Michael Chance. I loved James for his risk-taking and dangerous theatricality, but then Michael came along with his smooth vocal elegance and refinement, all his choices beautifully made.

What, for you, is the most challenging part of being a conductor? And the most fulfilling?

The most challenging bit is also the most enjoyable. I love offering singers my interpretation of the music and blending my ideas with theirs. In terms of the orchestra, I love working with modern players by inviting them to play in a stylish way.

At the end of the day the conductor takes responsibility for the work of everyone else involved, which is both a huge challenge and a responsibility. You’re there to make sure that the composer’s voice is heard at the same time as everyone who is involved in the project, so it’s a big challenge.

As a conductor, how do you communicate your ideas about a work to the orchestra?

It’s a big challenge for one individual to take on, but if you have willing participants, then great things are achievable as a conductor. I try to talk as little as possible and use body and facial gestures, and of course I play (the harpsichord) whilst conducting so I can guide people by my own playing. The key is getting the players to play smoothly or jaggedly, or richly or sensually etc., using your gestures and your face.

How exactly do you see your role? Inspiring the players/singers? Conveying the vision of the composer?

The main job of a conductor is to be extremely well-prepared and know everything you can about the piece. You have to know how singers like to sing, and players like to play, and you have to try and get the best out of everyone, even sometimes in spite of themselves. You must stand up for the score no matter what happens.

Is there one work which you would love to conduct?

Yes, I’m desperate to conduct Le nozze di Figaro. Mozart is perhaps the Shakespeare of music and after Monteverdi his work is what excites me most.

Do you have a favourite concert venue to perform in?

I love the Wigmore Hall, where I and La Nuova Musica perform a lot. It is perfect for the scale of music we perform there. The rest of the time I’m performing mostly in opera houses, but I adore the Wigmore.

What do you do off stage that provides inspiration on stage?

I’m completely devoted to music. There’s not a great deal in my life other than music, although I do spend a lot of time walking in the wilds of Wiltshire with Zadok my dog

What do you feel needs to be done to grow classical music audiences?

Well, you’ve got to take music up and down the country and show really beautiful ways of performing it and ways to introduce music to people to whom it might not be well known. In all forms of activity people recognise and respond to excellence and integrity, and we have to perform everything we do with this in mind.

As a musician, what is your definition of success?

I don’t believe in ultimate success. I don’t think it exists. For me success is getting the best out of people and saying something new about the works we perform. I’m a late developer – I only began conducting about ten years ago and I’m still learning. People skills are so important in this job, knowing how to get the best out of people, when to push or went back off, knowing how to read the room etc..

What advice would you give to young or aspiring conductors/musicians?

I would say don’t rush at it. Take your time and think about what you do. Being a conductor is a very important position and it takes quite a lot of maturity and life experience to do it well.

What’s the one thing we’re not talking about in the music industry which you feel we should be?

Every single modern player should leave music college with a basic understanding of the development of their instrument and its history. They should learn how to play their instrument and sing in a way that is appropriate for the music they are performing. If this happens, then we all win and we start to get closer to the sound that the composer imagined.

Where would you like to be in 10 years’ time?

I’d like to be back in Europe – philosophically as well as visa free!

What is your idea of perfect happiness?

Being in love and being loved

What is your most treasured possession?

Zadok – my Teckel.

What is your present state of mind?

The opera (L’incoronazione di Poppea) that I am conducting at The Grange Festival is extremely thought-provoking and the libretto so well written, complex, layered and creative that it’s engaging nearly all of my mind right now.

The L’incoronazione di Poppea opens at The Grange Festival on Friday 7 June. Find out more

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