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Speaker 1: This is Alec Baldwin and you're listening to Here's the

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Speaker 1: Thing from iHeart Radio. That's the third movement of Rockmnonov's

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Speaker 1: Symphonic Dances Opus forty five. This is the Netherlands Radio

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Speaker 1: Philharmonic Orchestra, conducted by my guest today, Karina Canalakis. The

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Speaker 1: recording is a special preview of an upcoming album, Rock

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Speaker 1: Mononoff the Bells and Symphonic Dances from Pentatone Music, available

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Speaker 1: this June. Karina Canilochus has achieved many firsts as a

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Speaker 1: conductor in the classical music world. Not only is she

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Speaker 1: a world class conductor and violinist, she's also the first

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Speaker 1: woman to be appointed principal guest conductor of the London

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Speaker 1: Philharmonic Orchestra and of the Berlin Radio Symphony Orchestra. Canilacus

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Speaker 1: was also the first woman to conduct the Nobel Prize

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Speaker 1: Concert in Stockholm and the first woman to be named

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Speaker 1: chief conductor of any Dutch orchestra. As both a violinist

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Speaker 1: and conductor, Canilacus has conducted or performed with major orchestras

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Speaker 1: such as the New York Philharmonic, Los Angeles Philharmonic, the

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Speaker 1: Bavarian Radio Symphony and the Munich Philharmonic. She is currently

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Speaker 1: the first female chief conductor of the Netherlands Radio Philharmonic

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Speaker 1: Orchestra and a principal guest conductor of the London Philharmonic.

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Speaker 1: But before all the accolades and prestigious postings across the world,

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Speaker 1: Carmina Canilacus grew up in a family of musicians, crowded

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Speaker 1: into a small New York City apartment.

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Speaker 2: It's sort of like one giant room with doors in

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Speaker 2: it basically, I mean, just one of those things. Yes,

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Speaker 2: and we just.

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Speaker 1: It was a studio that.

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Speaker 2: We literally shared everything. I mean, you know, soundproofing, whatsoever. Yeah,

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Speaker 2: my brother and I shared a room until I went

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Speaker 2: to colleges. It was interesting. Yes, that's what made you

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Speaker 2: the artist, was character building.

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Speaker 1: Yes, Now your parents played what they both.

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Speaker 2: Played piano, But my dad became a conductor and was

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Speaker 2: a conductor sort of. He always said he's famous in

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Speaker 2: the Tri State area because he conducted the Brooklyn Philharmonic,

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Speaker 2: the Westchester Symphony, Queen Symphony, so he was he was local.

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Speaker 2: But he has multiple sclerosis from quite a young age,

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Speaker 2: which is why he didn't really do the whole international

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Speaker 2: travel thing.

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Speaker 1: This illness set in when he was how old.

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Speaker 2: Oh, a teenager already, and it was sort of on

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Speaker 2: and off, you know, and.

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Speaker 1: So it does not impact his piano play.

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Speaker 2: It did eventually. Yeah, so you know, you see baby

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Speaker 2: pictures of me. He's already walking with a cane and

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Speaker 2: then he got a wheelchair and everything. But he did

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Speaker 2: everything from the wheelchair. I mean really, they built a

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Speaker 2: ramp for him up to the podium. He was, you know,

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Speaker 2: washing dishes. Oh yeah, to conduct he was washing dishes

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Speaker 2: at the kitchen sink, you know, with two kids running around,

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Speaker 2: three orchestras, everything from a wheelchair.

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Speaker 1: So was he still with us?

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Speaker 2: He is, He's you know there, he's still there.

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Speaker 1: Right, So when you're in this, was there a piano

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Speaker 1: in that apartment?

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Speaker 2: No, two pianos?

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Speaker 1: So two pianos? Yes, four people, two children, two adults.

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Speaker 2: Yeah, it was a full house. It was a cacophony.

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Speaker 2: I mean really literally every single day there were multiple

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Speaker 2: people practicing at the same time. My mom, her poor

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Speaker 2: piano students, would come over and she'd be giving him

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Speaker 2: a piano lesson. Meanwhile I would be screeching away in

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Speaker 2: the extreme when of my brother in the parents' bedroom.

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Speaker 2: I mean really sitting on the edge of the bed

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Speaker 2: practicing cello. It was It was interesting.

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Speaker 1: When you were growing up on the Upper West Side,

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Speaker 1: did you go to like a public school for grade school?

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Speaker 2: I went to Bank Street School, which is a private

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Speaker 2: school because it was walking distance. Well at the time,

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Speaker 2: it's now on one hundred and twelve, so it was

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Speaker 2: a four block walk, which was easy for my dad

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Speaker 2: with the wheelchair and everything right down the street. But

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Speaker 2: then I went to Stuyvesant High School, so that was

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Speaker 2: a public magnet school, and that was great.

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Speaker 1: Because because of your musicianship.

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Speaker 2: Well it's actually a math and science school, and you know,

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Speaker 2: you have to test to get in and all that stuff.

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Speaker 2: Why what I do?

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Speaker 1: Of course, you went to study math and science.

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Speaker 2: But it's funny because I loved math, but I also,

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Speaker 2: you know, I loved I was very sort of interested

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Speaker 2: in studying in school. I was a little bit of

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Speaker 2: a nerdy kind of teenager. There was a nerdy side

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Speaker 2: of me, and there was a side of me that

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Speaker 2: was very rebellious and out with the boys and kind

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Speaker 2: of so it was an interesting mix of of personality.

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Speaker 2: But I loved the violin, and that took over and

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Speaker 2: it was actually pretty difficult to be at Stuyvesant. The

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Speaker 2: last couple of years were a struggle because they didn't

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Speaker 2: want to let me out to have practice days and

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Speaker 2: things like that, and I just to go somewhere else.

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Speaker 2: For you you got to go, you know, practice for

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Speaker 2: my weekend recital or whatever. You know. I didn't want

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Speaker 2: to be doing calculus homework. I wanted to be practicing

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Speaker 2: my violin. And what happened, well, my mom would write

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Speaker 2: me sick notes all the time, Basically she's sick and

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Speaker 2: is some violin lessons exactly?

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Speaker 1: And that's what happened.

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Speaker 2: That is literally we played.

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Speaker 1: How long did that last?

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Speaker 2: Well, that was the entire you know, junior and senior

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Speaker 2: year went like that. At high school, yeah, because that

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Speaker 2: was the only way. I mean, if you want to

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Speaker 2: get you know, I went to the Curtis Institute of

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Speaker 2: Music in Philadelphia. It's extremely competitive to get Oh yeah, well, so.

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Speaker 1: You finished eleven and twelve, you're playing hockey, you're sneaking

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Speaker 1: off to do your lessons, and then what's decided whiles

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Speaker 1: you're rolling through that period of eleventh and twelfth grade

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Speaker 1: and these difficulties, had you made your mind if you're

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Speaker 1: going to go to a Curtis type thing.

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Speaker 2: Yes, it was a shift. The first year in high school.

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Speaker 2: I still I loved studying French, and I loved math,

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Speaker 2: and I loved everything. But then it became clear to

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Speaker 2: me that I found out about this magical Curtis Institute

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Speaker 2: of Music place, you know, where all these people that

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Speaker 2: I idolized had gone to the school. Right, Oh my gosh,

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Speaker 2: you know, if only I could go there. So I

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Speaker 2: actually I auditioned my junior year. I did not get in.

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Speaker 2: I was in the finals. I did not get in.

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Speaker 2: They said I was rushing the last movement of Tchaikovsky concert,

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Speaker 2: so I didn't get in. I was devastated. And at

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Speaker 2: that point I said, I'm going to do everything in

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Speaker 2: my power to just practice I don't know, five six

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Speaker 2: hours a day. And I did that for the next year.

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Speaker 1: I had of where were you that year?

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Speaker 2: I was? That was that Stuyvesant year where I was,

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Speaker 2: you know, getting the sick notes all the time. And

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Speaker 2: I went to senior year. That was senior year. The

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Speaker 2: audition was like February of my senior year and I

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Speaker 2: got in, and that was I mean, I can't you

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Speaker 2: explain to you the feeling. I couldn't even believe when

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Speaker 2: my parents got the phone call from Gary Graffman, president

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Speaker 2: of the school. We would like to offer Karina spotted Curtis.

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Speaker 2: I mean it was I came home from school, I

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Speaker 2: got off the subway, I came in the door, and

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Speaker 2: they said, you got into Curtis. You know, it was

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Speaker 2: like my life is made.

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Speaker 1: Yeah. Now, when you go to a school like that

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Speaker 1: is how many year three or four?

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Speaker 2: I was there for five years. Actually it's normally four.

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Speaker 2: You can extend. It's sort of a little bit loosey

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Speaker 2: goosey in terms of how long.

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Speaker 1: You say, so a fifth year there?

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Speaker 2: Yeah, I did.

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Speaker 1: And when you when you're standing you the conductor in

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Speaker 1: front of an ensemble anywhere during your career, what percentage

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Speaker 1: of people in that room go on to a master's program?

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Speaker 1: You went on to Juilliard. How many people are getting

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Speaker 1: those advanced degrees in music now who will have a seat,

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Speaker 1: they have a chair somewhere.

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Speaker 2: I would say that right now, we're in a situation

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Speaker 2: where there are many more people who are amazingly qualified

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Speaker 2: for these top orchestra jobs than there are actual positions,

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Speaker 2: and so it makes getting job in an orchestra anywhere

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Speaker 2: in the world. This is not just an American problem.

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Speaker 2: This is also the case in Europe. It's so unbelievably competitive.

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Speaker 2: You know, you go behind a screen and play for

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Speaker 2: a committee of nine people, and it's it's really a

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Speaker 2: sort of cold, ruthless situation because you getting, Yeah, you're

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Speaker 2: behind a screen. You either get enough votes or you don't,

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Speaker 2: and that determines whether or not you get a position.

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Speaker 2: And you know, some people are not cut out for

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Speaker 2: that kind of an audition process. They're a little bit

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Speaker 2: more artistic. So my brother, for example, has never played

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Speaker 2: in an orchestra. My brother Nick is a fantastic cellist.

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Speaker 2: He's at Chamber Music Society of Lincoln Center here in

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Speaker 2: New York. He runs Chamber Music Sedona. He's a soloist

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Speaker 2: and a chamber musician. Orchestra was not his thing. So,

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Speaker 2: you know, I think graduates from these conservatories they all

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Speaker 2: do their best, but they're not everyone is cut out

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Speaker 2: to win these auditions for major orchan.

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Speaker 1: So not many people, would you say, in the classical

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Speaker 1: world now who have a chair somewhere necessarily have a

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Speaker 1: master's degree that to more training beyond.

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Speaker 2: I would say any people get a job straight out

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Speaker 2: of the so called bachelor's program they do. Many people

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Speaker 2: will audition when they're twenty twenty one. Yeah, yeah, but

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Speaker 2: especially Curtis Juilliard, some of these schools in Europe. Yeah,

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Speaker 2: they'll win a job while they're in their very early

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Speaker 2: twenties and then work their way up from one position

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Speaker 2: to then a better orchestra and a better orchestra.

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Speaker 1: When you decided you wanted to go to Juilliard, you've

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Speaker 1: been five years already at Curtis your dream? What made

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Speaker 1: you want to go to school more? What would you

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Speaker 1: gain from that?

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Speaker 2: It was all about the teacher. I think for a

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Speaker 2: lot of violinists, you sort of you fall in love

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Speaker 2: with a certain teacher. You hear about a teacher who

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Speaker 2: you think is going to give you something. Now is

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Speaker 2: we're talking about a teacher. This is very sophisticated music making.

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Speaker 2: At that point, you know how to play the violin already,

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Speaker 2: you've been playing it since you were a little kid.

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Speaker 2: But there are so many other elements, also psychological elements

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Speaker 2: to playing an instrument and being able to stand on

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Speaker 2: a stage in front of hundreds of people and lay

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Speaker 2: with a beautiful sound without getting nervous without having the

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Speaker 2: nerves affect your physical body. It's the same thing with conducting.

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Speaker 2: When you get up there, you need to be physically

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Speaker 2: relaxed and try to sort of just be in the zone.

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Speaker 2: And that takes You have to have the right teacher.

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Speaker 2: You've got to have some It must be like acting.

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Speaker 2: Some people bring out the best in you, right. If

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Speaker 2: you're around those people more often, you will become a

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Speaker 2: better violinist or a better conductor. So that was the motivation.

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Speaker 2: I wanted to study at Juilliard with a man named

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Speaker 2: Donald Weilerstein, whose daughter, Alisa Weilerstein is A. Yeah, she's

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Speaker 2: a very close friend of mine and Rapa, they're both

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Speaker 2: really close friends of mine. At that point, I wanted

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Speaker 2: to do violin competitions and whatnot, and I thought, you know,

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Speaker 2: New York was a New York is New York. There's

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Speaker 2: no place like it on earth. You know, if you're

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Speaker 2: in New York as a young violinist, you have so

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Speaker 2: many opportunities. First of all, you can go out and

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Speaker 2: you can constantly be getting student tickets for Carnegie Hall

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Speaker 2: and the Met and Lincoln Center, chambersag Society and all

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Speaker 2: the things New York Philharmonic. But also, you know Juilliard was.

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Speaker 2: You know, you get gigs, you know, you can actually

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Speaker 2: start getting professional experience, such as well playing concertmaster in

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Speaker 2: the Haddenfield Symphony in New Jersey, which I did while

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Speaker 2: I was even a student at Curtis. You know, I

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Speaker 2: had chamber music gigs. You know some of them are

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Speaker 2: You know you put your violin case in the kitchen

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Speaker 2: and go play the wedding.

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Speaker 1: The same thing. Don't turn anything down.

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Speaker 2: You'll be absolutely not ready. You learn from every single

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Speaker 2: thing you do. Also, the friends you make doing those

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Speaker 2: kinds of gigs you will keep for the rest of

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Speaker 2: your life.

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Speaker 1: Now, while you are at Juilliard, you get the phone call,

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Speaker 1: I guess you get contacted about the Berlin Academy. What's

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Speaker 1: the proper name of that.

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Speaker 2: Organization, The Carian Academy of the Berlin Fulharmonic. I was

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Speaker 2: only at Juilliard for four months because then I left

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Speaker 2: and moved to Germany and moved to Berlin. You know,

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Speaker 2: this audition was in the beginning of October. Found out

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Speaker 2: about it through again somebody I had met at chamber

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Speaker 2: music fust a violinist named Simon and Bernardini who plays

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Speaker 2: in the Berlin Philharmonic. And he said to me, there

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Speaker 2: aren't many Americans doing this program, you know, come take

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Speaker 2: the audition. And I flew over to Berlin, took the audition,

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Speaker 2: won the audition, moved to Berlin in January of two

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Speaker 2: thousand and five, and started playing in the Berlin Philharmonic.

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Speaker 1: And your family would go see the Berlin when they

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Speaker 1: came to New York. Yes, who was conducting the Berlin Then?

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Speaker 2: When I was in high school, I went and I

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Speaker 2: saw them with a bottle.

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Speaker 1: Well, a bottle, yeah, bottom, ye, a bottle with lucerne.

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Speaker 2: Oh my gosh. If you want to have a really

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Speaker 2: like nerd out fun, look at the different lengths of

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Speaker 2: the same symphony. How long it is?

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Speaker 1: Yeah, I have I have thirteen Maller ninths in my phone.

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Speaker 2: So the Chaikovsky six with Bernstein. I'm very into that

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Speaker 2: piece because I just read I just recorded that piece

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Speaker 2: and released it. It's unbelievably. I used to talk about

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Speaker 2: this with Alan Gilbert.

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Speaker 1: How minutes?

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Speaker 2: How did he do that? How did he keep the tension?

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Speaker 1: Mazelle with the phil Harmonic playing the Maller ninth, the dagio,

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Speaker 1: he has five minutes the most brisk one is high. Yeah,

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Speaker 1: Seegar Stram is a good one. But Lauren Mazelle plays

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Speaker 1: it like he crushes every drop. Great thing. That's incredible.

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Speaker 2: But if it's genuine, then it comes from that conductor's

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Speaker 2: soul and that's just the way that they hear it.

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Speaker 2: Then you know, if it's convincing enough, I think, and

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Speaker 2: you know, you can do anything, but.

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Speaker 1: You're standing there. I mean, this is your job. Yeah,

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Speaker 1: you're standing there in front of an ensemble. You're gonna

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Speaker 1: conduct something. Let's say you're gonna do the Mallar five.

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Speaker 1: Something people are very common when people know the adagio

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Speaker 1: from the Mallar five, you're gonna you're gonna play that?

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Speaker 1: And do you say yourself, it's my responsibility to play

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Speaker 1: this at a certain pace. Is it my responsibility to

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Speaker 1: play this a certain way and not get succumbed to

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Speaker 1: the feelings too much? I'm gonna slow the thing so

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Speaker 1: far down.

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Speaker 2: Sure, that's a really good question. I mean that's a question.

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Speaker 1: How much is your mood rule?

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Speaker 2: Well, that's the thing is that you know, I think

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Speaker 2: it's it's dangerous to be indulgent when when it comes

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Speaker 2: to especially slow movements of famous pieces. But even with

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Speaker 2: Beethoven symphonies, you know, there are metronomer markings and there's

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Speaker 2: a whole there's a whole controversy about, you know, like

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Speaker 2: were they accurate or not? What kind of a metronome

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Speaker 2: did he have? Was it broken, was it weird, was

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Speaker 2: it irregular? We don't know, but I do think. I mean,

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Speaker 2: some of the metronal markings are simply impossible. You cannot

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Speaker 2: play it that fast. And there are all kinds of

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Speaker 2: theories about the Ninth Symphony, the metronal markings in the

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Speaker 2: Ninth Symphony, what that was supposed to mean. But you know,

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Speaker 2: that's part of my job. I have to interpret that.

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Speaker 2: I have to decide how fast or slow this thing

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Speaker 2: is going to go. It's entirely up to me, and

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Speaker 2: that's a huge responsibility. And there have been many performances

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Speaker 2: in my life, especially right now. My main job is

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Speaker 2: a radio orchestra. So every single thing we do in

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Speaker 2: Amsterdam from the Concerka about is live radio, which is

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Speaker 2: sometimes traumatizing because in the moment of that performance, you're

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Speaker 2: in a certain mood, you feel the audience, the player,

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Speaker 2: there's a certain vibe in the harmst there is there's

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Speaker 2: a chemistry, there's an atmosphere in the live concert hall.

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Speaker 2: Then you listen back on to the microphone and you think, no, why, no,

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Speaker 2: what so it was so slow or it was so fast?

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Speaker 2: God did I take it? So I just listened to

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Speaker 2: a recording that I did of maller one in Japan

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Speaker 2: this past summer. It was at the Pacific Music Festival,

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Speaker 2: which was founded by Leonard Bernstein right at the end

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Speaker 2: of his life. And it was a fantastic experience because

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Speaker 2: it's a young orchestra. Their auditioned from all over the

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Speaker 2: world between the ages of you know, twenty and thirty,

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Speaker 2: so young professionals. But the principal wins were all from

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Speaker 2: Berlin Philharmonic and the principal strings were all from Vienna Philharmonic,

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Speaker 2: so we were together, they were. It was a side

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Speaker 2: by side. The philosophy is used from Vienna, Berlin and Vienna.

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Speaker 2: And did they play together, well, not often. It was

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Speaker 2: very interesting, like the sort of the response to the

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Speaker 2: beat and everything was really fascinating. But the last movement,

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Speaker 2: because it was young people and there was so much

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Speaker 2: excitement saying the last moment was insanely fast and I

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Speaker 2: just listened back to the video. You know, they send

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Speaker 2: you these things and they say, will you approve this

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Speaker 2: for YouTube whatever? When you listen and you think it

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Speaker 2: didn't feel it felt just perfect in the moment. But

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Speaker 2: was that too fast? You know, this is our whole life,

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Speaker 2: you know, was that too fast?

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Speaker 1: Is that?

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Speaker 2: Would I take that tempo next time when I do

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Speaker 2: the piece? I'm doing the piece in a few months,

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Speaker 2: Will I take it that fast next time? It depends

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Speaker 2: also on who you have in front of you, the

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Speaker 2: response of the orchestra, the age of the players. You know,

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Speaker 2: there's so many others had too much green tea or something, yeah,

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Speaker 2: green tea. But it was I mean in the moment,

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Speaker 2: I mean the audience went completely berserk. It was. It

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Speaker 2: was so exciting because also, you know, you're rooting for

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Speaker 2: these young people. This this young horn player doing his

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Speaker 2: first smaller one playing principal horn, sitting next to Sarah

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Speaker 2: Willis from the Berlin Phulhmonic playing second horn. So it

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Speaker 2: was an amazing experience for these young people and you're

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Speaker 2: rooting for them, and when they play, well, it's just

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Speaker 2: everyone was you know, it was a fantastic experience.

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Speaker 1: Conductor and violinist Carina Canlocus. If you enjoy conversations with

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Speaker 1: classical music conductors at the top of their game, check

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Speaker 1: out my episode with Maestro Rafael Piari.

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Speaker 3: When I go into an orchestra, especially for the first time,

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Speaker 3: it's all about let's see how the sound of the

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Speaker 3: orchestra reacts to my beat, and let's see what we

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Speaker 3: can do together. Every orchestra has a specificity and there's

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Speaker 3: something that is different and with everybody, and yet it

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Speaker 3: will see how with the chemistry that would happen on

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Speaker 3: the stage, how much it could be.

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Speaker 1: Ben It's like a dancer party.

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Speaker 3: You know how fast you can do and how you

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Speaker 3: can go from one place to the other, makeup twirl.

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Speaker 3: Beyond that, it is just all about that kind of

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Speaker 3: trust happening.

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Speaker 1: To hear more of my conversation with Rafael Piari, go

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Speaker 1: to Here's the Thing dot org. After the break, Cana

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Speaker 1: Locus talks about growing up in a house of musicians

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Speaker 1: with two pianos in a one bedroom apartment. I'm Alec

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Speaker 1: Baldwin and this is Here's the Thing That's Bella bar

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Speaker 1: Talk's Concerto for Orchestra and my guest today, Karina Canelakis

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Speaker 1: conducting the Netherlands Radio Philharmonic Orchestra. This recording this courtesy

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Speaker 1: of Pentatone Music. Canilacus's conducting career began in twenty fourteen

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Speaker 1: when she started her first professional conducting job as an

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Speaker 1: assistant conductor for the Dallas Symphony under conductor Yap van Staden.

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Speaker 1: Only a few months into her post, Canilacus would find

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Speaker 1: herself standing in for von Staden as an emergency substitute conductor.

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Speaker 1: When Canilacus led the Dallas Symphony performing Shostakovich's Symphony Number

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Speaker 1: eight with no rehearsal. Now a seasoned conductor, I was

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Speaker 1: curious what her preparation for a performance looks like.

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Speaker 2: I mean, definitely, the finding a call place is crucial

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Speaker 2: for me, and I feel like doing nothing for about

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Speaker 2: three hours before the performance. I do a nap, religiously

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Speaker 2: short nap, and then about three hours before showtime, I

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Speaker 2: don't like to talk too much to anybody. I don't

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Speaker 2: like to have too many people around me. I certainly

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Speaker 2: don't listen to any music or look at my phone.

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Speaker 1: You don't play the piece, you're gonna go, oh my god.

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Speaker 2: No, Well, it's going on in my mind anyway, like

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Speaker 2: a very loud recording. It's unbelievable. It's literal. I mean,

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Speaker 2: I always have music going on in my head like

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Speaker 2: a loud recording. Right now, it's Jostkovic five, because that's

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Speaker 2: what I'm doing next week. Literally, and I have sometimes

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Speaker 2: multiple the different parts of the piece cancel each other out.

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Speaker 2: I mean that the one sort of goes by like

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Speaker 2: a cloud in the wind, and then the other other

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Speaker 2: part comes through, and I think the brain, you know,

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Speaker 2: it's working out. How do I feel about this? What

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Speaker 2: the tempo? Again? The tempo? Most important thing a conductor

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Speaker 2: can do is set the tempo sort of the flow

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Speaker 2: of it. Do I want Oh, I'm thinking about this

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Speaker 2: G sharp major chord that comes in the middle of the

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Speaker 2: third movement. Do I want them to do it with

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Speaker 2: vibrato or without vibrato? I just had a text message

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Speaker 2: conversation with my brother about this, because he loves that

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Speaker 2: chord with vibrato. He thinks it should be warm. I've

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Speaker 2: always done it cold because I think it's false hope,

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Speaker 2: because it goes immediately to C sharp minor. These are

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Speaker 2: the things that are going on in my head. I

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Speaker 2: have my reason, but you know, we sort of go

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Speaker 2: back and forth about it's great to have people in

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Speaker 2: the family you can talk to about music and about

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Speaker 2: interpretive decisions and things. It's amazing your mother played what

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Speaker 2: My mother's a pianist, an amazing pianist. She was an

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Speaker 2: incredible solo as she played concertos with my dad conducting

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Speaker 2: a lot, and she could.

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Speaker 1: Go from one piano to the other in the apartment.

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Speaker 2: She could, well, we had two pianos because she would

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Speaker 2: teach students piano concertos and she would play the orchestra

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Speaker 2: part on the upright and they would play the concerto

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Speaker 2: on the grand piano. So it's an upright next to

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Speaker 2: a grand piano. But you know, just to say before

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Speaker 2: the performance, you know this this it's sort of it's

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Speaker 2: a very very hectic conversation going on in my own

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Speaker 2: brain between me and myself and I and so I

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Speaker 2: need a lot of quiet for that because it's already

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Speaker 2: feels like a lot of noise in my mind. And

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Speaker 2: by the time I get to the hall, I don't know.

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Speaker 2: I just I just and you know, right before I

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Speaker 2: go on stage, I do have these moments because I

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Speaker 2: think because I was a violinist for so many years.

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Speaker 2: I really was. I was a full time professional violinist

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Speaker 2: until I was thirty. I'm not one of those stories

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Speaker 2: about you know, I knew I wanted to be conductor

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Speaker 2: when I was ten, and I first conducted when I

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Speaker 2: was twenty. You know, I was late to this. I

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Speaker 2: didn't I really loved playing the violin. I didn't have

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Speaker 2: any ambition to become a professional conductor. And then what

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Speaker 2: happened Rattle, Well, yeah, I was strongly encouraged to do

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Speaker 2: so by multiple people. It was Sion. Rattle was my

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Speaker 2: friend Ellen Gilbert.

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Speaker 1: It's a bit interesting how people have you know, I mean,

432
00:22:52,640 --> 00:22:55,560
Speaker 1: I'm dramatizing. It's like someone taps the mother around the

433
00:22:55,560 --> 00:22:58,600
Speaker 1: shoulder and says, come with me when they go. He

434
00:22:58,680 --> 00:23:02,200
Speaker 1: really keeps time better than anybody out there for the something.

435
00:23:02,240 --> 00:23:04,840
Speaker 1: They see some obviously some indicator, and they go, we'd

436
00:23:04,840 --> 00:23:08,000
Speaker 1: like them to come and take some conducting lessons. So

437
00:23:08,119 --> 00:23:10,680
Speaker 1: what is it? What do they see in you? What

438
00:23:10,720 --> 00:23:11,280
Speaker 1: are you doing?

439
00:23:11,600 --> 00:23:14,520
Speaker 2: Well? My path to becoming a conductor was not linear,

440
00:23:14,600 --> 00:23:16,919
Speaker 2: Let's put it that way. It was mainly a windy

441
00:23:16,960 --> 00:23:20,719
Speaker 2: path because I still missplaying the violin. I loved it

442
00:23:20,920 --> 00:23:23,320
Speaker 2: so much I could not imagine I couldn't bear the

443
00:23:23,359 --> 00:23:26,439
Speaker 2: thought of putting the violin aside for any other reason,

444
00:23:26,920 --> 00:23:29,760
Speaker 2: and certainly not to be standing up without my violin.

445
00:23:29,840 --> 00:23:32,440
Speaker 2: That was very scary in the beginning. You know, It's

446
00:23:32,480 --> 00:23:35,199
Speaker 2: like my identity, my voice. Let's say I would be

447
00:23:35,240 --> 00:23:37,440
Speaker 2: standing there without my voice. What am I going to

448
00:23:37,560 --> 00:23:39,560
Speaker 2: do standing there in front of all these people? What

449
00:23:39,600 --> 00:23:42,359
Speaker 2: physically what am I going to do? But I'm so

450
00:23:42,440 --> 00:23:45,240
Speaker 2: happy that I was encouraged to do it, and I think,

451
00:23:45,520 --> 00:23:48,480
Speaker 2: you know, the people who encouraged me, they saw a

452
00:23:48,520 --> 00:23:51,159
Speaker 2: great interest and passion in score study. For me. That

453
00:23:51,240 --> 00:23:53,679
Speaker 2: was really the thing that I think where they said, hey,

454
00:23:53,720 --> 00:23:56,560
Speaker 2: wait a second, you what you're doing. I did conducting

455
00:23:56,920 --> 00:23:59,159
Speaker 2: courses in my summertime, in the free time, I did

456
00:23:59,200 --> 00:24:02,119
Speaker 2: conducting master classes. I mean I took conducting classes from

457
00:24:02,160 --> 00:24:05,080
Speaker 2: the age of twelve, conducted my high school orchestra. I

458
00:24:05,119 --> 00:24:07,600
Speaker 2: thought it was easy. I was, I did, oh, yeah,

459
00:24:07,640 --> 00:24:09,440
Speaker 2: this is this is not you know. I thought playing

460
00:24:09,440 --> 00:24:12,760
Speaker 2: from yeah, and I thought the violin was much more difficult.

461
00:24:13,320 --> 00:24:15,439
Speaker 2: But in fact that's not true when you get to

462
00:24:15,480 --> 00:24:19,359
Speaker 2: the highest level, because what is happening between you and

463
00:24:19,400 --> 00:24:24,280
Speaker 2: these great, great, great orchestras is so subtle, and so

464
00:24:24,359 --> 00:24:27,320
Speaker 2: it's such a psychological game that you have to be

465
00:24:27,920 --> 00:24:31,320
Speaker 2: deeply seasoned as a musician. And I'm so happy that

466
00:24:31,359 --> 00:24:33,800
Speaker 2: I waited because all those years of experience as a

467
00:24:33,880 --> 00:24:39,760
Speaker 2: violinist feed my feeling of confidence on the podium and

468
00:24:39,760 --> 00:24:42,000
Speaker 2: my feeling that I actually you know, I mean, I've

469
00:24:42,040 --> 00:24:44,560
Speaker 2: played so much of the repertoire as a violinist in

470
00:24:44,600 --> 00:24:48,280
Speaker 2: the orchestra before I ever conducted it. So this is

471
00:24:48,320 --> 00:24:50,879
Speaker 2: a huge, huge thing. And sometimes when I'm preparing to

472
00:24:50,880 --> 00:24:53,680
Speaker 2: go on stage, I do think to myself. I remember

473
00:24:53,760 --> 00:24:58,399
Speaker 2: back to seeing, for example, Sapeca Salinin walking on stage

474
00:24:58,400 --> 00:25:02,040
Speaker 2: in Chicago. I played under his direction in Chicago, saw

475
00:25:02,160 --> 00:25:05,040
Speaker 2: him getting ready to go on stage, and I thought,

476
00:25:05,840 --> 00:25:07,800
Speaker 2: oh my god, I want to do that. I want

477
00:25:07,840 --> 00:25:10,240
Speaker 2: to be that person. And sometimes I get that feeling

478
00:25:10,280 --> 00:25:12,520
Speaker 2: right before I go on stage and I think, yeah,

479
00:25:13,600 --> 00:25:14,280
Speaker 2: I'm doing it.

480
00:25:15,000 --> 00:25:18,680
Speaker 1: When do you begin conducting? So you are the.

481
00:25:18,680 --> 00:25:20,880
Speaker 2: Chief now I'm chief conductor.

482
00:25:20,600 --> 00:25:23,200
Speaker 1: Of the Netherlands Radio Philharmonic Arquers. You've been doing that

483
00:25:23,240 --> 00:25:23,800
Speaker 1: for how long?

484
00:25:24,320 --> 00:25:26,840
Speaker 2: Since twenty nineteen? So this is my seventh season.

485
00:25:26,600 --> 00:25:28,960
Speaker 1: The seventh season. How did that? Who tapped you on

486
00:25:29,000 --> 00:25:29,679
Speaker 1: the shoulder for that.

487
00:25:30,400 --> 00:25:33,320
Speaker 2: Oh, they came and saw me in a few different places.

488
00:25:33,400 --> 00:25:36,720
Speaker 2: They were sort of hanging around me in a few

489
00:25:36,760 --> 00:25:39,400
Speaker 2: different cities. The general director came to Iceland, he saw

490
00:25:39,440 --> 00:25:42,479
Speaker 2: me in Iceland, he saw me Cologne, and then I

491
00:25:42,520 --> 00:25:45,000
Speaker 2: conducted them. I actually I did one week with them

492
00:25:45,200 --> 00:25:49,119
Speaker 2: back in twenty eighteens Beethoven's seven and Britain for c interludes.

493
00:25:49,720 --> 00:25:52,040
Speaker 2: And the final concert was in the concert about you know,

494
00:25:52,080 --> 00:25:54,560
Speaker 2: you know the red steps and the concert, Well they

495
00:25:54,560 --> 00:25:59,280
Speaker 2: are these There are these ridiculous red carpeted stairs. The

496
00:25:59,320 --> 00:26:01,359
Speaker 2: doors open at the top. You have to walk all

497
00:26:01,720 --> 00:26:04,000
Speaker 2: the way their conductor all the way down these stairs,

498
00:26:04,760 --> 00:26:07,720
Speaker 2: through the orchestra, no, through the orkctra, down down, down,

499
00:26:07,840 --> 00:26:09,480
Speaker 2: and so you know, everyone is kind of waiting to

500
00:26:09,480 --> 00:26:11,000
Speaker 2: see if the conductor is going to trip on their

501
00:26:11,000 --> 00:26:13,920
Speaker 2: way down the stairs. So I walked after the performance

502
00:26:13,960 --> 00:26:16,160
Speaker 2: was over, walked up the red stairs, up up up

503
00:26:16,200 --> 00:26:19,440
Speaker 2: into the dressing room, sat down on the sofa. They

504
00:26:19,480 --> 00:26:21,800
Speaker 2: closed the door and they said, you want to be

505
00:26:21,800 --> 00:26:24,720
Speaker 2: our chief conductor after one week with the orchestra.

506
00:26:24,520 --> 00:26:26,680
Speaker 1: So that you passed the test. You made it downstairs.

507
00:26:26,840 --> 00:26:30,040
Speaker 2: It was so real, but that hardly ever exactly. They

508
00:26:30,040 --> 00:26:32,040
Speaker 2: were like, wow, she really she really knew how to

509
00:26:32,080 --> 00:26:33,080
Speaker 2: do those stairs.

510
00:26:33,680 --> 00:26:35,359
Speaker 1: Yeah, looking good.

511
00:26:36,000 --> 00:26:38,680
Speaker 2: I passed the test. But I mean that that's extremely

512
00:26:38,760 --> 00:26:42,200
Speaker 2: rare in this business. Normally, orchestras are very careful about

513
00:26:42,280 --> 00:26:45,439
Speaker 2: choosing their next music director. They you know, wait a

514
00:26:45,480 --> 00:26:47,439
Speaker 2: long time that they needs to be somebody. They've had

515
00:26:47,520 --> 00:26:49,720
Speaker 2: multiple visits, and you know it needs to be the

516
00:26:49,760 --> 00:26:52,960
Speaker 2: right person more than just musically. But this was a

517
00:26:53,000 --> 00:26:56,199
Speaker 2: situation where they'd been looking for a while and the

518
00:26:56,280 --> 00:26:59,679
Speaker 2: chemistry between us was so electric and so fun and

519
00:26:59,720 --> 00:27:04,640
Speaker 2: so warm, and it just was so clear that we

520
00:27:05,119 --> 00:27:08,520
Speaker 2: had something really unusual. And so they offered me the position,

521
00:27:08,680 --> 00:27:12,159
Speaker 2: and I think two weeks later I said okay.

522
00:27:11,960 --> 00:27:13,359
Speaker 1: And you guest conducted them before.

523
00:27:13,960 --> 00:27:17,280
Speaker 2: This was the one and only guest connecting experience that

524
00:27:17,320 --> 00:27:17,960
Speaker 2: I had with them.

525
00:27:18,000 --> 00:27:20,000
Speaker 1: It was really, I mean literally conductor, and they gave

526
00:27:20,000 --> 00:27:20,400
Speaker 1: you the job.

527
00:27:20,720 --> 00:27:22,879
Speaker 2: You literally we were together for five days and they

528
00:27:22,920 --> 00:27:25,080
Speaker 2: gave me the job, which is a big vote of

529
00:27:25,720 --> 00:27:26,280
Speaker 2: it's a risk.

530
00:27:26,359 --> 00:27:29,520
Speaker 1: Also now the ensemble itself, you can feel when it's

531
00:27:29,560 --> 00:27:31,680
Speaker 1: going well, and you can feel when there's like it's

532
00:27:31,680 --> 00:27:33,080
Speaker 1: not as good as you'd like it to be.

533
00:27:33,560 --> 00:27:35,880
Speaker 2: Yeah, yeah, you can read it on people's face. It's

534
00:27:35,880 --> 00:27:37,639
Speaker 2: just the same way as when you're sitting across the

535
00:27:37,680 --> 00:27:40,200
Speaker 2: table from somebody you know, having a meal or something.

536
00:27:40,240 --> 00:27:41,600
Speaker 2: You know, you either get along with them. It's like

537
00:27:41,640 --> 00:27:44,080
Speaker 2: being on a date date. It's like being on a

538
00:27:44,119 --> 00:27:47,560
Speaker 2: date with eighty people. So you know, but sometimes you

539
00:27:47,640 --> 00:27:49,800
Speaker 2: think the worst thing as a conductor is if you

540
00:27:49,840 --> 00:27:52,720
Speaker 2: think it's going great and then the orchestra doesn't invite

541
00:27:52,760 --> 00:27:53,160
Speaker 2: you back to.

542
00:27:53,119 --> 00:27:56,400
Speaker 1: The orchestra, communicate to the maestro if they have complaints.

543
00:27:56,480 --> 00:27:58,960
Speaker 1: What's the method in the average ensemble.

544
00:27:59,080 --> 00:28:01,960
Speaker 2: Oh, I wish there were more communication. I really do,

545
00:28:02,000 --> 00:28:04,639
Speaker 2: because I think sometimes people are afraid to talk to

546
00:28:04,680 --> 00:28:07,000
Speaker 2: the conductor. They're afraid to say anything, or they assume

547
00:28:07,040 --> 00:28:09,480
Speaker 2: that the conductor is sort of a prepackaged, ready to go,

548
00:28:09,800 --> 00:28:13,520
Speaker 2: inflexible entity that you know, we either like them or

549
00:28:13,560 --> 00:28:16,000
Speaker 2: we don't, or the way that there's chemistry or there isn't.

550
00:28:16,359 --> 00:28:19,000
Speaker 2: But actually, you know, the ideal thing with conductors is

551
00:28:19,040 --> 00:28:22,879
Speaker 2: that we all continue to grow and improve and learn

552
00:28:23,080 --> 00:28:25,520
Speaker 2: as we go through our life as a conductor. I mean,

553
00:28:25,560 --> 00:28:28,280
Speaker 2: I'm forty four, Blomshed is ninety six, so hopefully I

554
00:28:28,320 --> 00:28:30,680
Speaker 2: have another fifty years ahead of me. I would love

555
00:28:30,720 --> 00:28:33,960
Speaker 2: to think that I do have another fifty years to

556
00:28:34,080 --> 00:28:36,680
Speaker 2: keep on doing this, to keep learning, to keep doing concerts,

557
00:28:36,680 --> 00:28:38,280
Speaker 2: to keep you know, how many times am I going

558
00:28:38,320 --> 00:28:40,479
Speaker 2: to be able to do mall or five in the

559
00:28:40,480 --> 00:28:43,280
Speaker 2: next fifty years? A lot? So my mall ar five

560
00:28:43,320 --> 00:28:47,440
Speaker 2: will be drastically different in thirty years than it is

561
00:28:47,520 --> 00:28:51,080
Speaker 2: right now. And I think if orchestras you know, want

562
00:28:51,080 --> 00:28:52,920
Speaker 2: to have a healthy relationship with a conductor, I think

563
00:28:52,920 --> 00:28:55,080
Speaker 2: it's you know, it would be great to have a

564
00:28:55,080 --> 00:28:58,720
Speaker 2: little bit more communication. But it doesn't happen often. I'm

565
00:28:58,720 --> 00:29:00,880
Speaker 2: not sure why, and it's something that bothers me about

566
00:29:00,880 --> 00:29:03,400
Speaker 2: the profession. For sure, it was one of the reasons

567
00:29:03,400 --> 00:29:05,600
Speaker 2: that I was afraid to become a conductor. I mean,

568
00:29:05,600 --> 00:29:07,880
Speaker 2: I have my friends in Chicago saying to me, don't

569
00:29:07,920 --> 00:29:10,480
Speaker 2: go to the dark side. You're such a great violinist,

570
00:29:10,560 --> 00:29:12,320
Speaker 2: don't you know, don't go to the dark side. Oh no,

571
00:29:12,360 --> 00:29:13,520
Speaker 2: You're going to become the enemy.

572
00:29:14,360 --> 00:29:15,440
Speaker 1: Is there some perception of that?

573
00:29:15,640 --> 00:29:18,040
Speaker 2: I think that there is a little bit of well,

574
00:29:18,080 --> 00:29:21,760
Speaker 2: the conductor becomes the scapegoat for whatever has not gone

575
00:29:21,760 --> 00:29:22,240
Speaker 2: well or.

576
00:29:22,200 --> 00:29:24,680
Speaker 1: Whatever is the conductor I think is suspended in a

577
00:29:24,680 --> 00:29:26,320
Speaker 1: weird space between the management and.

578
00:29:27,040 --> 00:29:29,959
Speaker 2: Very weird, very weird. And also what I find strange

579
00:29:29,960 --> 00:29:32,920
Speaker 2: about the profession. And this is a positive thing, but

580
00:29:33,040 --> 00:29:36,480
Speaker 2: I get very attached to people, and I get very

581
00:29:36,520 --> 00:29:40,000
Speaker 2: attached to musicians and orchestras especially. You know, you're very

582
00:29:40,120 --> 00:29:42,440
Speaker 2: vulnerable up there. You're looking at each other's eyes, you're

583
00:29:42,480 --> 00:29:46,240
Speaker 2: breathing together, You're playing very emotional music makes you want

584
00:29:46,280 --> 00:29:48,280
Speaker 2: to cry, that makes you think about your children and

585
00:29:48,320 --> 00:29:51,080
Speaker 2: your parents and people who've passed away. I mean this music,

586
00:29:51,120 --> 00:29:52,720
Speaker 2: as you know as an audience.

587
00:29:52,280 --> 00:29:54,320
Speaker 1: Member, it shattering.

588
00:29:54,440 --> 00:29:59,360
Speaker 2: It is it goes extremely deep, maybe deeper than anything

589
00:29:59,360 --> 00:30:01,840
Speaker 2: else that I can think of, certainly deeper than words

590
00:30:02,000 --> 00:30:05,320
Speaker 2: or reading a book or you know. I mean, for me,

591
00:30:05,400 --> 00:30:07,400
Speaker 2: it goes to a completely different level of sort of

592
00:30:07,760 --> 00:30:10,920
Speaker 2: inter emotion and connecting with other people. And so you

593
00:30:11,040 --> 00:30:14,480
Speaker 2: have this experience with this group of people and I'm there,

594
00:30:14,600 --> 00:30:17,400
Speaker 2: let's say for five six days. We might have two

595
00:30:17,480 --> 00:30:20,360
Speaker 2: to four concerts together, and then I leave and I

596
00:30:20,360 --> 00:30:22,160
Speaker 2: don't see them for a year.

597
00:30:23,040 --> 00:30:25,440
Speaker 1: Now, you are a mother, You have two kids are

598
00:30:25,480 --> 00:30:28,200
Speaker 1: how old again, four and two? Four and two? So

599
00:30:28,240 --> 00:30:30,880
Speaker 1: these are fresh fresh children there, fresh out of the oven.

600
00:30:31,840 --> 00:30:32,800
Speaker 1: And your husband is.

601
00:30:32,760 --> 00:30:36,720
Speaker 2: A he My husband is from Germany. He's not a musician.

602
00:30:36,760 --> 00:30:39,160
Speaker 2: He plays the guitar very well and he knows everything

603
00:30:39,200 --> 00:30:40,920
Speaker 2: about rock and jazz.

604
00:30:41,280 --> 00:30:42,360
Speaker 1: And what does he do for a living.

605
00:30:42,640 --> 00:30:46,760
Speaker 2: He is a philosopher of epistemology and artificial intelligence at

606
00:30:46,760 --> 00:30:54,560
Speaker 2: the University Amsterdam. So he's an idea AI. He's he's

607
00:30:54,560 --> 00:30:56,800
Speaker 2: written articles on authorship and chatchy.

608
00:30:56,840 --> 00:30:59,840
Speaker 1: Where did you meet him? You never take your stuff outside?

609
00:31:00,040 --> 00:31:04,360
Speaker 2: Exactly? It's good question. It was luck. It was pure luck.

610
00:31:04,440 --> 00:31:06,400
Speaker 2: I mean really, we come from two complete different worlds.

611
00:31:06,520 --> 00:31:08,720
Speaker 2: We met in Luxembourg. I was conducting an opera in

612
00:31:08,800 --> 00:31:12,040
Speaker 2: Luxembourg and he was briefly working for the concert hall

613
00:31:12,520 --> 00:31:14,440
Speaker 2: doing digital media. This is before he went in.

614
00:31:14,400 --> 00:31:15,800
Speaker 1: Too philosophy his lucky day.

615
00:31:16,080 --> 00:31:19,440
Speaker 2: Yeah, he was in between careers and it was true luck.

616
00:31:19,920 --> 00:31:23,239
Speaker 1: Now when you travel, is he daddy at home when

617
00:31:23,240 --> 00:31:24,800
Speaker 1: you're on because you're on the road a lot.

618
00:31:27,240 --> 00:31:30,480
Speaker 2: Yes. When they were tiny babies, I took them everywhere

619
00:31:30,520 --> 00:31:33,560
Speaker 2: with me and we all traveled as a family. And

620
00:31:33,600 --> 00:31:35,920
Speaker 2: I'm very lucky that I have a spouse who does

621
00:31:35,920 --> 00:31:38,480
Speaker 2: something that's where he you know, he's the flexible one.

622
00:31:38,560 --> 00:31:40,560
Speaker 2: He can be remote, Yeah, he can be remote. He

623
00:31:40,680 --> 00:31:43,720
Speaker 2: you know, his schedule sort of bends around around the traveling.

624
00:31:44,240 --> 00:31:46,720
Speaker 2: Now my son is starting to go to school. We

625
00:31:46,760 --> 00:31:50,080
Speaker 2: live in Amsterdam, so they started school of four. I

626
00:31:50,200 --> 00:31:52,320
Speaker 2: like it. Yeah, you know, I ride my bike everywhere

627
00:31:52,360 --> 00:31:55,720
Speaker 2: and in the rain, but you know, it's it's a

628
00:31:55,800 --> 00:31:58,880
Speaker 2: very charming city. I appreciate life there. I appreciate the

629
00:31:58,920 --> 00:32:02,440
Speaker 2: convenience to the airport. That's for a conductor very important,

630
00:32:02,600 --> 00:32:04,400
Speaker 2: right just getting in and out. I can get to

631
00:32:04,440 --> 00:32:06,840
Speaker 2: Berlin in an hour, London and an hour Stockholm in

632
00:32:06,840 --> 00:32:09,480
Speaker 2: an our Paris on the train, the high speed train.

633
00:32:09,960 --> 00:32:13,200
Speaker 2: So it's convenient and it works, and it's a work

634
00:32:13,200 --> 00:32:17,000
Speaker 2: in progress. I mean, balancing this lifestyle with little kids

635
00:32:17,080 --> 00:32:19,400
Speaker 2: is I have a lot of conductor friends who've done it.

636
00:32:19,440 --> 00:32:22,600
Speaker 2: Alan Gilbert has three kids, so he's been a really

637
00:32:22,840 --> 00:32:27,480
Speaker 2: amazing friend to talk to about just balancing quality time

638
00:32:27,520 --> 00:32:30,600
Speaker 2: with them when you're home with then you know, sometimes

639
00:32:30,640 --> 00:32:32,040
Speaker 2: being away.

640
00:32:32,720 --> 00:32:36,840
Speaker 1: Now I'm assuming that you're vast understanding and your wealth

641
00:32:36,880 --> 00:32:41,280
Speaker 1: of studying all these different musical pieces. I'm assuming you

642
00:32:41,360 --> 00:32:42,760
Speaker 1: have to have some of you like more than other.

643
00:32:43,000 --> 00:32:45,480
Speaker 1: When that comes up on the program for the coming

644
00:32:45,520 --> 00:32:46,720
Speaker 1: year or two and you're going to go out you

645
00:32:46,760 --> 00:32:49,080
Speaker 1: see there and go ooh, you know one of my favorites.

646
00:32:48,800 --> 00:32:52,520
Speaker 2: There are there are well generally, whatever I'm studying in

647
00:32:52,560 --> 00:32:55,280
Speaker 2: the moment is my favorite thing on earth. Good answer,

648
00:32:56,040 --> 00:32:58,920
Speaker 2: it really is. It happens because I go in completely

649
00:32:58,960 --> 00:33:01,280
Speaker 2: in that world and then you justcover you rediscover it

650
00:33:01,320 --> 00:33:05,200
Speaker 2: and you think, how how did this guy write this?

651
00:33:05,800 --> 00:33:07,600
Speaker 2: I mean, I say this guy, it's most of the time.

652
00:33:07,800 --> 00:33:08,000
Speaker 1: Man.

653
00:33:08,480 --> 00:33:11,960
Speaker 2: There are fabulous female composers, but far there are fewer

654
00:33:12,240 --> 00:33:15,560
Speaker 2: in number. But I think I've never been a composer.

655
00:33:16,320 --> 00:33:18,160
Speaker 2: I think it's a good exercise, but I don't have

656
00:33:18,200 --> 00:33:20,520
Speaker 2: that drive or that I don't have like it's.

657
00:33:20,440 --> 00:33:21,920
Speaker 1: One when it comes up on the roster to think

658
00:33:22,040 --> 00:33:23,600
Speaker 1: ooh oh.

659
00:33:23,240 --> 00:33:26,000
Speaker 2: Well, I mean speaks to you. I would say, I

660
00:33:26,040 --> 00:33:29,400
Speaker 2: love opera and I'm doing more and more opera. My

661
00:33:29,520 --> 00:33:32,240
Speaker 2: absolute I think it's safe to say all time favorite

662
00:33:32,240 --> 00:33:37,000
Speaker 2: piece pretty much is Tristan and Isolda from by Rick Harvagner.

663
00:33:37,480 --> 00:33:41,120
Speaker 2: You know, it's is long and expensive to put on

664
00:33:41,120 --> 00:33:43,440
Speaker 2: a production, so it's it's hard to come by. You know,

665
00:33:43,480 --> 00:33:45,760
Speaker 2: you don't you don't just get offered every season that

666
00:33:45,800 --> 00:33:47,520
Speaker 2: trists On and is Olda. This is a this is

667
00:33:47,520 --> 00:33:51,360
Speaker 2: a piece that is, it's a big undertaking for any

668
00:33:51,400 --> 00:33:54,400
Speaker 2: opera house or any you know, theater anywhere in the world.

669
00:33:54,920 --> 00:33:58,760
Speaker 2: But the music is just it's unlike anything else. And

670
00:33:58,800 --> 00:34:01,200
Speaker 2: I think that that piece all so changed the face

671
00:34:01,240 --> 00:34:03,520
Speaker 2: of classical music. For example, last week with the San

672
00:34:03,560 --> 00:34:06,920
Speaker 2: Francisco Symphony, I did a piece by Sibelius. I love Sibelius.

673
00:34:07,240 --> 00:34:09,920
Speaker 2: I did lemon kinan for legends from the Kalevala, or

674
00:34:10,040 --> 00:34:13,080
Speaker 2: sometimes it's called lemon Kin and Sweet. And this is

675
00:34:13,120 --> 00:34:15,880
Speaker 2: a big, long, fifty minute work that the most famous

676
00:34:15,880 --> 00:34:18,120
Speaker 2: movement is the swan of Towinella, which has a big

677
00:34:18,120 --> 00:34:21,160
Speaker 2: English horn solo that's in that. So that's the one

678
00:34:21,200 --> 00:34:24,399
Speaker 2: that's often played as a separate piece. But Sibelius had

679
00:34:24,400 --> 00:34:27,480
Speaker 2: been in Byroid before he wrote all this. He was Wagner,

680
00:34:27,680 --> 00:34:32,239
Speaker 2: he had wagner itis, He was completely immersed in the

681
00:34:32,280 --> 00:34:37,000
Speaker 2: whole Byroid world. It is often extracted as an individual,

682
00:34:37,080 --> 00:34:40,640
Speaker 2: sort of ten eleven minute long tone poem, but in

683
00:34:40,680 --> 00:34:42,919
Speaker 2: fact it works so well as part of this sort

684
00:34:42,920 --> 00:34:46,359
Speaker 2: of larger suite that comes out of various stories from

685
00:34:46,400 --> 00:34:50,600
Speaker 2: the Kalavala, this Finnish mythological thing. But Sibelius wanted to

686
00:34:50,600 --> 00:34:53,080
Speaker 2: write an opera because he had had so much Wagner

687
00:34:53,120 --> 00:34:55,800
Speaker 2: on the brain, and he thought about writing an opera

688
00:34:56,200 --> 00:34:59,040
Speaker 2: and then realized that actually, in the end he would

689
00:34:59,120 --> 00:35:00,960
Speaker 2: never be able to do it. Anything like Tristan and

690
00:35:01,040 --> 00:35:04,080
Speaker 2: is Olda just wasn't gonna happen. And his thing was

691
00:35:04,120 --> 00:35:07,200
Speaker 2: sort of tone poems and nature painting. So he stuck

692
00:35:07,200 --> 00:35:09,719
Speaker 2: with that, and he he never wrote an opera. He

693
00:35:09,800 --> 00:35:13,080
Speaker 2: ended up just he wrote for voice, beautiful, beautiful, like

694
00:35:13,200 --> 00:35:17,120
Speaker 2: one otar, this unbelievable, very enchanting piece for soprano or extra.

695
00:35:17,440 --> 00:35:20,280
Speaker 2: But he didn't write a large scale opera like Wagner.

696
00:35:20,440 --> 00:35:23,479
Speaker 2: But Sibelius wrote this incredible music that has his own,

697
00:35:23,560 --> 00:35:25,880
Speaker 2: you know, the finish landscape and this, you know, I

698
00:35:26,040 --> 00:35:30,560
Speaker 2: see sort of otherworldly sounds that are unlike any other composer.

699
00:35:30,640 --> 00:35:34,560
Speaker 2: I love Sibelius's music every time I'm in that world. Four,

700
00:35:34,960 --> 00:35:37,919
Speaker 2: Oh my god, four is amazing. I can't believe, you know, four,

701
00:35:37,920 --> 00:35:43,120
Speaker 2: because four is really not not often done. It's quite difficult. Seven, five,

702
00:35:43,320 --> 00:35:45,920
Speaker 2: I mean, he wrote all these tone poems, Poyola's Daughter

703
00:35:46,040 --> 00:35:51,200
Speaker 2: for example. Unbelievable. It's unbelievable music, a little bit minimalistic.

704
00:35:51,880 --> 00:35:54,120
Speaker 2: I think John Adams for example, who I love John

705
00:35:54,120 --> 00:35:56,040
Speaker 2: Adams music. I think he you know, he sort of

706
00:35:56,960 --> 00:35:58,879
Speaker 2: must have been influenced by a little bit these sort

707
00:35:58,880 --> 00:36:00,920
Speaker 2: of repetitive figures that go, you got to go do

708
00:36:00,960 --> 00:36:03,040
Speaker 2: go go do, go, go, go go. They go over

709
00:36:03,080 --> 00:36:04,360
Speaker 2: and over again throughout the piece.

710
00:36:04,840 --> 00:36:08,360
Speaker 1: What I pray in terms of my relationship with the

711
00:36:08,480 --> 00:36:10,279
Speaker 1: film and what I want to try over the next

712
00:36:10,320 --> 00:36:13,960
Speaker 1: several years too try to extend and strengthen, is to

713
00:36:14,000 --> 00:36:18,000
Speaker 1: bring the next audience into the space. It's latent learning.

714
00:36:18,239 --> 00:36:21,680
Speaker 2: It's really rare. I feel like when I think about

715
00:36:21,719 --> 00:36:27,680
Speaker 2: you and your whole career as an actor, how dedicated

716
00:36:27,719 --> 00:36:30,040
Speaker 2: you are to classical music and to the New York Philharmonic.

717
00:36:30,360 --> 00:36:34,600
Speaker 2: You're on the board, you support in multiple ways. This

718
00:36:34,760 --> 00:36:37,480
Speaker 2: is huge, and this is rare, and I think that

719
00:36:37,640 --> 00:36:41,440
Speaker 2: is one of the most important things going forward. I mean,

720
00:36:41,520 --> 00:36:46,120
Speaker 2: you know, private support is thankfully a tradition in the

721
00:36:46,200 --> 00:36:48,200
Speaker 2: United States, not so much in Europe. And they need

722
00:36:48,239 --> 00:36:51,080
Speaker 2: to get on the boat now because you know, there

723
00:36:51,080 --> 00:36:55,320
Speaker 2: are major arts funding cuts in a lot of places. Berlin,

724
00:36:55,760 --> 00:37:00,840
Speaker 2: certainly in the Netherlands, the UK, London has had huge

725
00:37:00,920 --> 00:37:04,040
Speaker 2: arts funding cuts lately. And I think this idea of

726
00:37:04,080 --> 00:37:08,400
Speaker 2: private support and of reaching across to other fields outside

727
00:37:08,480 --> 00:37:11,640
Speaker 2: of this tiny world of classical music. You know, to

728
00:37:11,719 --> 00:37:14,680
Speaker 2: people like you who are who are in the film industry,

729
00:37:14,680 --> 00:37:18,799
Speaker 2: who are actors, who are producers. This is crucial, you know,

730
00:37:18,880 --> 00:37:19,839
Speaker 2: for our survival.

731
00:37:24,080 --> 00:37:29,680
Speaker 1: Conductor and violinist Carina Canilucus, if you're enjoying this conversation,

732
00:37:30,239 --> 00:37:32,759
Speaker 1: tell a friend and they short of follow Here's the

733
00:37:32,800 --> 00:37:38,000
Speaker 1: thing on the iHeartRadio app, Spotify or wherever you get

734
00:37:38,040 --> 00:37:43,000
Speaker 1: your podcasts. When we come back, Canilucus tells the story

735
00:37:43,280 --> 00:37:47,880
Speaker 1: of emailing her childhood inspiration, Mikhail Borishnikoff, and how it

736
00:37:48,000 --> 00:38:10,640
Speaker 1: led to meeting him in person at her show. I'm

737
00:38:10,640 --> 00:38:29,640
Speaker 1: Alec Baldwin and this is here's the thing. This is

738
00:38:29,680 --> 00:38:35,239
Speaker 1: the New York Philharmonic performing Death and Transfiguration by Regard Strauss,

739
00:38:35,440 --> 00:38:39,640
Speaker 1: conducted by Kermina Canalocas. My thanks to the New York

740
00:38:39,680 --> 00:38:45,239
Speaker 1: Philharmonic for generously providing this archive recording from twenty twenty four.

741
00:39:20,920 --> 00:39:24,480
Speaker 1: Canelacus began training to be a violinist when she was

742
00:39:24,520 --> 00:39:29,800
Speaker 1: a child, surrounded by a family of musicians. Having studied

743
00:39:29,800 --> 00:39:33,120
Speaker 1: at some of the top of music conservatories, I was

744
00:39:33,200 --> 00:39:36,120
Speaker 1: curious who she looked up to for inspiration when she

745
00:39:36,280 --> 00:39:38,200
Speaker 1: was first starting out.

746
00:39:38,480 --> 00:39:42,080
Speaker 2: You know who I was obsessed with was Barishnikoff, Mikhail Bershnikoff,

747
00:39:42,440 --> 00:39:44,440
Speaker 2: so much so that I was talking to a friend

748
00:39:44,600 --> 00:39:46,319
Speaker 2: when I so we met when I conducted the neuro

749
00:39:46,360 --> 00:39:47,360
Speaker 2: Filmonic in February.

750
00:39:47,600 --> 00:39:48,839
Speaker 1: So what did you do?

751
00:39:49,239 --> 00:39:52,279
Speaker 2: This was a w C Lamaier program and the Sara

752
00:39:52,360 --> 00:39:54,520
Speaker 2: Ajo and then you came back stage afterwards and you

753
00:39:54,560 --> 00:39:57,560
Speaker 2: were so so kind. So that same I think, I

754
00:39:57,600 --> 00:39:59,000
Speaker 2: think it wasn't the same night you were. There was

755
00:39:59,040 --> 00:40:03,000
Speaker 2: another night. So I had a friend I was saying, oh, Borishnakoff, la,

756
00:40:03,040 --> 00:40:04,680
Speaker 2: and she said, you know he lives here in New York.

757
00:40:04,719 --> 00:40:06,600
Speaker 2: You should just write to him. And I said, no,

758
00:40:06,680 --> 00:40:09,040
Speaker 2: I could never do that, you know, no, come on,

759
00:40:09,320 --> 00:40:12,760
Speaker 2: So I wrote an email to Mikhyle Berishnikoff and I said,

760
00:40:12,800 --> 00:40:17,120
Speaker 2: you know you're my biggest inspiration of my life. I

761
00:40:17,200 --> 00:40:20,960
Speaker 2: watched your Nutcracker religiously every year as a child. Very

762
00:40:21,000 --> 00:40:26,240
Speaker 2: emotional message. His wife Lisa wrote me back three days

763
00:40:26,280 --> 00:40:29,239
Speaker 2: later and she said, we're coming to a show. They come,

764
00:40:29,400 --> 00:40:33,759
Speaker 2: They came and I met him. It was unbelievable. Was

765
00:40:34,320 --> 00:40:37,000
Speaker 2: it was emotional for me because I mean, you know

766
00:40:37,120 --> 00:40:40,120
Speaker 2: he's standing there and he's an older man now and

767
00:40:40,320 --> 00:40:43,840
Speaker 2: he has children my age. I mean, it's not the

768
00:40:43,840 --> 00:40:47,040
Speaker 2: same thing as if I would meet him. And yesterday

769
00:40:47,040 --> 00:40:49,600
Speaker 2: he made the Nutcracker video. You know, it was like

770
00:40:49,680 --> 00:40:53,120
Speaker 2: meeting someone who has lived this whole unbelievable life in

771
00:40:53,160 --> 00:40:54,960
Speaker 2: the arts and especially New York. And there's the New

772
00:40:55,040 --> 00:40:56,640
Speaker 2: York connection. I mean, this is my home, this is

773
00:40:56,640 --> 00:40:59,520
Speaker 2: my hometown. I was born and raised here in the city,

774
00:41:00,080 --> 00:41:02,759
Speaker 2: and he has made this his home for most of

775
00:41:02,760 --> 00:41:05,840
Speaker 2: his life. And he's such a sort of an integral

776
00:41:05,880 --> 00:41:07,879
Speaker 2: part of the New York art scene, and he has

777
00:41:07,920 --> 00:41:09,160
Speaker 2: his art.

778
00:41:09,200 --> 00:41:12,680
Speaker 1: Paul Newman had his cancer camp of many cancer camps

779
00:41:12,719 --> 00:41:16,160
Speaker 1: around and the Mothership is up in Connecticut. One year

780
00:41:16,200 --> 00:41:17,800
Speaker 1: we go and there's all these celebrities who are invited

781
00:41:17,800 --> 00:41:19,400
Speaker 1: to come and do this camp. Arret. They do a

782
00:41:19,480 --> 00:41:22,640
Speaker 1: show and it's a horrible show. It's the worst show

783
00:41:22,719 --> 00:41:26,399
Speaker 1: you've ever seen. Newman prided himself the worst thing you've

784
00:41:26,480 --> 00:41:29,279
Speaker 1: ever seen in your life. And one time, Parishia Cough

785
00:41:29,280 --> 00:41:31,240
Speaker 1: comes and he's sitting in a chair out in the woods,

786
00:41:31,280 --> 00:41:35,400
Speaker 1: like off the stage door, smoking a cigarette and I

787
00:41:35,480 --> 00:41:36,799
Speaker 1: go to say hi to him, and he gets up

788
00:41:36,800 --> 00:41:38,400
Speaker 1: and he hugs me, and I'm like, I said, look

789
00:41:38,400 --> 00:41:39,719
Speaker 1: at him. I'm like, you know, you're not even a

790
00:41:39,800 --> 00:41:44,200
Speaker 1: human being. You're not true. That would do you too.

791
00:41:44,320 --> 00:41:45,480
Speaker 2: Yeah, it's not real.

792
00:41:45,760 --> 00:41:46,320
Speaker 1: It's true.

793
00:41:46,400 --> 00:41:47,160
Speaker 2: It's so true.

794
00:41:47,800 --> 00:41:50,160
Speaker 1: What's the piece you haven't conducted that you'd like to conduct?

795
00:41:50,560 --> 00:41:54,800
Speaker 2: I would say the other three Ring Cycle opera. So

796
00:41:54,840 --> 00:41:58,680
Speaker 2: I've conducted Siegfried, which is the third of the four

797
00:41:58,760 --> 00:42:03,600
Speaker 2: Ring Cycle operas. I've also conducted the first act of Devalkyra,

798
00:42:03,680 --> 00:42:07,399
Speaker 2: but I have not yet done Demrong And I would

799
00:42:07,480 --> 00:42:09,480
Speaker 2: love to do good good to Demongong and and I

800
00:42:09,480 --> 00:42:16,759
Speaker 2: would love to do an entire fully staged Ring Cycle productions. Well,

801
00:42:16,800 --> 00:42:19,080
Speaker 2: it's a bit about sixteen hours of music total.

802
00:42:19,160 --> 00:42:19,359
Speaker 1: Yeah.

803
00:42:21,160 --> 00:42:25,359
Speaker 2: Normally these days opera houses do one per season over

804
00:42:25,400 --> 00:42:32,120
Speaker 2: four years. However you can have it depends the whole thing. No,

805
00:42:32,760 --> 00:42:35,840
Speaker 2: rarely merely that would be that would be insanity that

806
00:42:35,920 --> 00:42:36,800
Speaker 2: What about live.

807
00:42:36,640 --> 00:42:39,240
Speaker 1: To picture with films? Do you do that over there? No?

808
00:42:39,520 --> 00:42:41,600
Speaker 2: I have not done that. There are people who are

809
00:42:41,600 --> 00:42:43,680
Speaker 2: really really good at that kind of thing, And I

810
00:42:43,719 --> 00:42:45,440
Speaker 2: don't think that's necessarily my I.

811
00:42:45,400 --> 00:42:47,799
Speaker 1: Don't think it's a string. I don't want to explore it.

812
00:42:47,719 --> 00:42:50,520
Speaker 2: If it's a movie that I love that I'm passionate about. Absolutely,

813
00:42:50,520 --> 00:42:53,719
Speaker 2: Why not it was a film? Oh yeah, sure, I

814
00:42:53,760 --> 00:42:56,319
Speaker 2: mean that would be amazing. I think, you know, a

815
00:42:56,360 --> 00:42:59,360
Speaker 2: lot of that music is really incredible, like Miklos Rosha,

816
00:42:59,640 --> 00:43:01,840
Speaker 2: you know, the those guys who came to California from Germany.

817
00:43:01,840 --> 00:43:05,520
Speaker 2: Of course, unbelievable music. The score is Spellbound, for example,

818
00:43:05,600 --> 00:43:08,560
Speaker 2: this is unbelieva. There's even a piano concerto from the

819
00:43:08,600 --> 00:43:11,040
Speaker 2: spell Bound score which which I have conducted, and it

820
00:43:11,120 --> 00:43:12,239
Speaker 2: was really really fun.

821
00:43:12,480 --> 00:43:16,840
Speaker 1: Now talk about was opera in the windshield throwout or

822
00:43:16,920 --> 00:43:17,880
Speaker 1: that's something you acquired.

823
00:43:18,400 --> 00:43:21,440
Speaker 2: I will say that I have always loved opera since

824
00:43:21,480 --> 00:43:23,920
Speaker 2: I was a little kid. With my father, we had

825
00:43:23,960 --> 00:43:27,200
Speaker 2: a VHS tape of Lennoz Dificero the Marriage of Figuo

826
00:43:27,880 --> 00:43:30,960
Speaker 2: and you know the Carabino when he jumps out the

827
00:43:31,000 --> 00:43:33,520
Speaker 2: window and he has to hide. I thought it was

828
00:43:33,560 --> 00:43:35,560
Speaker 2: the greatest thing I'd ever seen in my life. I mean,

829
00:43:35,560 --> 00:43:38,400
Speaker 2: I was obsessed with the music, the whole thing, the

830
00:43:38,440 --> 00:43:42,200
Speaker 2: whole thing that people were singing a reality scene from

831
00:43:42,360 --> 00:43:46,000
Speaker 2: life that they were singing it. I thought it was unbelievable.

832
00:43:46,640 --> 00:43:49,000
Speaker 2: But then you know, you become a violinist, you go

833
00:43:49,040 --> 00:43:52,120
Speaker 2: through this conservatory world and you had to play as

834
00:43:52,160 --> 00:43:54,640
Speaker 2: one of your classes in school in the opera orchestra

835
00:43:55,360 --> 00:43:58,480
Speaker 2: without knowing anything about what was going on on stage.

836
00:43:58,800 --> 00:44:00,800
Speaker 2: Nobody would tell you. So if you didn't go to

837
00:44:00,880 --> 00:44:02,920
Speaker 2: the library, there was no you know, you couldn't just

838
00:44:03,120 --> 00:44:06,040
Speaker 2: there was no Wi FI. When I was eighteen, you

839
00:44:06,080 --> 00:44:08,520
Speaker 2: had to really seek. I didn't do that. I didn't

840
00:44:08,560 --> 00:44:10,399
Speaker 2: go and find it. You know, you had your life.

841
00:44:10,440 --> 00:44:11,680
Speaker 2: You had to practice, you had to go to the

842
00:44:11,680 --> 00:44:14,319
Speaker 2: next class and do the next thing. It bugged me

843
00:44:14,520 --> 00:44:16,360
Speaker 2: that I didn't know what was going on in stage,

844
00:44:16,360 --> 00:44:18,520
Speaker 2: that I didn't have any contact, And so I made

845
00:44:18,520 --> 00:44:21,239
Speaker 2: a point then of sort of going out of my

846
00:44:21,360 --> 00:44:25,120
Speaker 2: way to discover, not as a violinist, but as an outsider,

847
00:44:25,160 --> 00:44:27,680
Speaker 2: as a conductor, to discover this world of opera, which

848
00:44:27,719 --> 00:44:30,440
Speaker 2: really is is in a way completely separate from the

849
00:44:30,480 --> 00:44:33,640
Speaker 2: symphonic world in many ways imagine.

850
00:44:33,320 --> 00:44:35,359
Speaker 1: Primarily other than there's singers live.

851
00:44:35,640 --> 00:44:37,880
Speaker 2: So in so many ways, the whole process, you know,

852
00:44:38,080 --> 00:44:40,200
Speaker 2: the whole, the storytelling, the whole, the way you have

853
00:44:40,239 --> 00:44:42,319
Speaker 2: to conduct when you conduct an opera, you first of all,

854
00:44:42,320 --> 00:44:44,120
Speaker 2: it's not all about you. You know that people make

855
00:44:44,120 --> 00:44:46,160
Speaker 2: a big fuss over the conductor. You get on stage

856
00:44:46,200 --> 00:44:49,040
Speaker 2: and everyone's looking at you and James Levon everything you know,

857
00:44:49,080 --> 00:44:52,200
Speaker 2: But when you're in the pit, you're mostly hidden from view.

858
00:44:52,360 --> 00:44:54,400
Speaker 2: People see your shoulders in the top of your head.

859
00:44:54,840 --> 00:44:58,200
Speaker 2: The main focus is on the stage, the singers, and

860
00:44:58,360 --> 00:45:01,200
Speaker 2: I love that functional role. I love to be more

861
00:45:01,280 --> 00:45:03,600
Speaker 2: part sort of part of the part of the team.

862
00:45:03,800 --> 00:45:06,880
Speaker 2: I love that. I love to be I don't like

863
00:45:06,920 --> 00:45:08,719
Speaker 2: a lot of fuss over.

864
00:45:09,600 --> 00:45:09,839
Speaker 1: Yeah.

865
00:45:09,880 --> 00:45:12,600
Speaker 2: No, it's too much attention on the conductor. But it

866
00:45:12,680 --> 00:45:14,799
Speaker 2: really bugs me, so I like to be that. I

867
00:45:14,800 --> 00:45:21,960
Speaker 2: also I am constantly saying, what have I done to myself? Yeah,

868
00:45:22,000 --> 00:45:25,239
Speaker 2: but it's a completely different process. Singers, conductor. You're there

869
00:45:25,280 --> 00:45:28,120
Speaker 2: for weeks. You're in one place for weeks. You're in

870
00:45:28,160 --> 00:45:31,800
Speaker 2: a room with a pianist and the director and you're blocking,

871
00:45:31,840 --> 00:45:34,120
Speaker 2: and you're especially if it's a new production, you're figuring out,

872
00:45:34,200 --> 00:45:37,000
Speaker 2: you know, what makes sense and how can this singer

873
00:45:37,080 --> 00:45:39,920
Speaker 2: sing something in a way that is convincing, bring out

874
00:45:39,960 --> 00:45:41,919
Speaker 2: the text, bring out the meaning of the text. While

875
00:45:42,000 --> 00:45:44,920
Speaker 2: do sometimes doing ridiculous things physically running around I have

876
00:45:44,960 --> 00:45:46,879
Speaker 2: to wear knee pads half the time and doing all

877
00:45:46,880 --> 00:45:50,720
Speaker 2: sorts of things on stage that are extra musical things

878
00:45:51,480 --> 00:45:53,920
Speaker 2: I love. I love to dance as a kid, you know.

879
00:45:54,000 --> 00:45:57,520
Speaker 2: I like all the different elements of art. You know

880
00:45:57,640 --> 00:46:00,520
Speaker 2: a little bit more chan the way.

881
00:46:00,840 --> 00:46:02,319
Speaker 1: Trying to stay the way you are now till your

882
00:46:02,440 --> 00:46:03,200
Speaker 1: ninety six.

883
00:46:03,080 --> 00:46:05,359
Speaker 2: Don Boomstead, thanks.

884
00:46:15,440 --> 00:46:20,359
Speaker 1: My thanks to conductor and violinist Karina Canalakas. I'll leave

885
00:46:20,400 --> 00:46:26,040
Speaker 1: you with Karina conducting the London Philharmonic performing Tchaikowsky's Symphony

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00:46:26,200 --> 00:46:29,920
Speaker 1: Number five. I'm Alec Baldwin. Here's the thing is brought

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00:46:29,920 --> 00:47:13,600
Speaker 1: to you by iHeart Radio Man.