Talks With Nadège Rochat

Hildur Guðnadottir: “The Score Can Almost Go Unnoticed — Its Transparency Is Meant to Draw You in and Keep You on Your Toes”
Cate Blanchett: “The Thing That Really Struck Me Is That in the Beginning, I Wasn’t Breathing — That’s Just So Important for Conducting. You Have to Breathe With the Orchestra”
Josie Campbell: “After ‘Black Lives Matter’ There Was a Big Push to Start Playing Music by Underrepresented Groups”
Josephine Knight: “Seeing the Autograph of Schumann’s Conzertstück Was a Revelation for Me”
Eckart Runge: “Many Things Are Not Written in Musical Scores, and You Have to Just Trust Your Instinct on That”
Jan Vogler: “We Want Our Audience to Experience the Human Emotion We Are Portraying”
William Molina Cestari: “As Teachers, We Need to Have the Right Lenses to See What Fits Our Students Better”
Wendy Law: “It’s Good to Show People That I’m Not Perfect and That I’m Still Learning and Growing. That’s What Music Should Be About”
Jo Cole: “Even Though Practising Can Feel Demoralising, It Is Important to Keep the Instrument Alive With You”