Excerpt – It’s more of a principle that I have. I love conductors, I love working with them and I love it when the synchronicity between the performer and the conductor is so that it is less about ‘you watch me’ and ‘I watch you’ and one of us commands at some point, but more about a very organic symbiosis that grows through feeling and watching as much as it is this [mimes conductor’s actions], a baton. Because a baton is absolutely necessary at times, and a clear gesture is obviously extremely necessary, but the gift of the truly fantastic conductor is that they’re not only like a traffic cop, they’re not just directing rhythm so that sixty people all play in sync. If you can truly conduct an orchestra, it means that if a singer on one day takes more fermata, or they take less fermata, or they stop because it’s so emotional – that conductor has the ability to bring sixty people to a halt and keep his eyes on things and then bring them in with authority and with clarity. That is not necessarily something that is charted out in exactitude to the nanosecond – I think that is the gift.