“I started with classical music and then got disillusioned nice and early, which is good because you get it out of the way and go back to having illusions afterwards.”
Hailed by the New York Times as “Opera’s Great 25-Year-Old Hope,” Matthew Aucoin shares his passion for opera with a heartfelt traversal of Mozart’s “Figaro,” and discusses unusual pathways to classical music via an early rock band ensemble.
Recent and upcoming performances of Aucoin’s orchestral and chamber works include performances by the Zürich Tonhalle Orchestra, cellist Yo-Yo Ma, members of the Chicago Symphony Orchestra, the SOLI Chamber Ensemble, and the Gramercy Trio. (Episode 21)
“Play in such a way as to make everybody around you better.”
Conductor Roger Nierenberg discusses his Music Paradigm, in which he seats business executives within orchestras to demonstrate engaging and humorous lessons in leadership through a love of music. Full of anecdotes about Leonard Bernstein and Carlos Kleiber and the complex character of conductors, this episode is surprising in its highlight of the transformative power of music. (Episode 47)
“It’s a paradoxical, Buddhist concept: the way to really influence an orchestra is let their sound go through you, with your ears open.”
Winner of the Solti Foundation Conductor’s Prize, Case Scaglione went from trombone player in a Texas high school band to Associate Conductor of the New York Philharmonic, a position revived specially for him by Music Director Alan Gilbert. He discusses his life, the complex relationship between conductor and players, and how to make a modern orchestra sound as Bach intended. (Episode 15)