I love concert halls that make it clear that they are a sacred space and put a special canvas for the music, where people feel uplifted and special
I see myself as an enabler and a facilitator; someone who can convince, guide, educate and enlighten a musical ensemble to invest, trust and believe in me.
It’s a game of give and take really! Of course, I want to convey the voice of the composer and be true to what they wrote on the page as well. As the designated ‘leader’ in the rehearsal room and performance, it’s important to bring the right energy to the music and ensure I’m inspiring the players and singers so we’re all making the best music we can.
I find it very fascinating how music sounds different in different venues. We create music for a specific venue with every performance. All this said, I do love the Royal Albert Hall.
Who or what are the most significant influences on your musical life? In terms of significance, it has to be Benjamin Britten and also Bernard
I’m interested in the longform possibilities of the concert experience: bold programming which reaches across individual movements to an essence which exceeds the sum of its parts. The great symphonic programmers for me right now are Rattle, Jurowski, Volkov.