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Above all, the compelling spectacle was proof that classical music, despite any highbrow, passé reputation it might possess, could still feel essential and urgent. We need these highly skilled professionals of the highest level, which are part of the Philadelphia Orchestra, so some offerings will need to be paid for. But we also have artists and people who need to earn their lives. But the reconnecting with the piano was something very special for me. So there is something about art that’s a mixture of that escape and really when it is expressing something that is very close to home, it can be disturbing and challenging. The mirror, no. People would flee the halls when they were listening to world premieres. What was very important for me, and also for the musicians of the Philly Orchestra and the Met, was to give this to our audience because everyone was at home, everyone was isolated. They were challenging to their audiences. | The Philly Post. But you’ve also commissioned a piece by the composer Valerie Coleman that was written as a response to the pandemic. When the … I think you can’t have one without the other. So I’m curious if you see your role as providing a kind of escapist sonic entertainment, or if you actually want to be producing something more challenging for the audience? Did you feel totally bereft? How to pronounce Yannick Nezet-Seguin in different languages? ). Almost every masterpiece we play nowadays on a regular basis was badly received when they got their premieres. Dinner Party, Your Guide to Hiking and Exploring Valley Forge National Historical Park, Your Guide to Hiking and Exploring Pine Creek Gorge, This search result is here to prevent scraping, If You're Not Voting in This Election, I'm Judging You, Here’s When Pa. Will Reach Peak Fall Foliage in 2020, Why the PPP Loan Program Failed in Philadelphia, The Pennsylvania Mail-In Ballot Is Surprisingly Complicated, What Does Columbus Day Really Celebrate? If you're a human and see this, please ignore it. Then you realize how usually there’s so much non-verbal communication for an orchestra and for colleagues to be together, and of course between a conductor and the orchestra. It’s very, very different. Yannick Nézet-Séguin conducting a reimagined 2020 Philadelphia Orchestra, which will be streaming a series of performances starting on Wednesday night. Clearly this was disruptive for all of the members of the orchestra, but maybe no one more so than a conductor, right? What's the pronunciation of Yannick Nezet-Seguin in French? I think the conductor should not use a mirror to practice. You can feel a difference between the true silence of 2,000 people in a hall — because they’re focused and they’re giving you something of their soul by listening — and the emptiness. Photo by Jeff Fusco/Courtesy Philadelphia Orchestra. This interview has been edited and condensed for clarity. Each Zoomer recorded his or her part separately.) Note that clicking the link below will block access to this site for 24 hours. We played that concert with some Beethoven symphonies. Yannick Nézet-Séguin - Chef d'orchestre québecois. But I always knew that putting all of these little boxes together by Zoom, this can only be for so long. What did you actually do during the early months of the pandemic? Yannick Nezet-Seguin の発音 フランス語 [fr] Yannick Nezet-Seguin の発音を 発音したユーザ: co1971 (カナダ の 女性) 0 票 良い 悪い With some types of performance art, like in theater, there’s frequent audience reaction, so the simple fact of having people in the room reacting might change a performance on any given night. But yes, it is a piece of its time, of its circumstance. Yannick Nézet-Séguin 英語 語で言う方法 ? Like you said, there’s no instrument that you can practice. And then, time flew. 2. One might think that it matters less in classical music, where the audience usually is quiet. Were you practicing in the mirror? It was something I feel that us artists, we felt we needed to do. We experienced that in Philly just on March 12th, when every stage basically in the country was going dark. It was so new and we could feel this was the last time we’d play for a while, so we played it in front of no audience, but in our normal hall. So there were two choices, basically: Disappear for a while or try anything we could to stay and feel connected. The orchestra will instead be streaming a series of concerts, starting with a performance of Mozart, Rossini, Verdi and contemporary composer Valerie Coleman at the Mann Center on Wednesday night. That’s actually something I’m against. Brahms: Sérénade No. Our goal with the audience is that our devoted subscribers will appreciate and stay with us during this and witness our journey. One of the benefits of this digital experience is the way it’s filmed to make it feel like the audience can be at several places within the orchestra, instead of just being in one seat. Yannick Nézet-Séguin の発音 1 オーディオ音, 1 翻訳, 4 文章 The Philly Orchestra conductor is set to kick off the ensemble’s new season with a livestreamed performance at the Mann Center on Wednesday night. But has this changed your own concept of what a concert actually is, and if maybe these remote concerts should continue going forward? The Philadelphian’s Guide to Hosting a (Small!) For the moment, the digital experience is a replacement, but it’s going to — and I’m convinced about this — remain a complement to the live experience. The musicians will be wearing masks, seated six feet apart. So we reconnected doing chamber music jut the two of us. 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