Back at the Symphony

 My monthly trip to Amsterdam to film Symphony Insiders for the Symphony.Live platform began badly with a 4 hour delay to the Eurostar train (thanks to overhead power line failure) and having to abandon the train completely and head for Heathrow to get the first available flight out. Which was then delayed. 

I finally arrived at the studio at 9pm and went straight into filming an episode of our ‘chat show’ responding to one of the available full concerts on Symphony; the Budapest Festival Orchestra playing Haydn and Mozart. The BFO is such an extraordinary orchestra and I could listen to them play anything, but this programme gave me the opportunity to talk about how much more pleasure I get from Haydn than Mozart, who I just cannot connect with (and never have). I went for the provocative approach; if someone asked me which one composer I could happily do without, I would say Mozart. There was shock from my fellow panellists, gasps even. But there it is. I have no doubt the audience will have plenty to say on the matter!

We recorded two more shows the following day, discussing concerts by the Royal Stockholm Philharmonic (who played a wild mixed-media show conceived by the megastar Swedish clarinettist Martin Fröst) and the Cleveland Orchestra (conducted by John Adams, playing his oratorio El Niño). Two chunky programmes that were very satisfying to watch and to discuss. You’ll be able to watch those episodes of Symphony Insiders on the platform very soon. Dominic Seldis hosted, with myself and the brilliant Hannah Solveig. 

After the recording we had a team photo (above), because television is all about The Team. Those of us in front of the camera get all the lovely treatment and attention, but without the crew behind the camera (and beyond) we are nothing and this particular crew is one of the loveliest I’ve ever worked with. It’s now pretty much the same people every time, which is great as familiarity can be a huge help with a presenter’s confidence and ease on camera. The only times I’ve ever been nervous when presenting television have been when someone or something isn’t quite right within the process. Presenting isn’t exactly heavy lifting and we always get treated so well, but it does have its own peculiar pressures and difficulties. Staring down a camera lens can do strange things to the brain. Even after 25 years of doing this stuff, a simple 5-line piece to camera from memory can sometimes seem like a mensa test. The floor manager says ‘rolling’, you stare at the lens and every single word, phrase or information previously lodged securely in your brain just disappears. Leaving nothing. ‘Let’s go again.’

That’s why I always used to prefer live radio or TV; there are no second chances, no retakes. The brain knows this and acts accordingly. If you know you can do something again, it’s amazing how many times a mistake can be made. But with the adrenalin running and the pressure of having to do it right, being live forces you to get it right (usually!). 

On the other hand, recording a show like Symphony Insiders gives us far more freedom to express ourselves and - yes - make mistakes or even just say something again only better. Then it’s up to the director (the wonderful Ruud directs Symphony Insiders) to edit everything down to a coherent, tighter show for the audience. If we did it live, the time pressures would mean we’d almost certainly fail get all our points across. When we record, we can get all our points across and the director then chooses the best ones. 

And thank goodness. Otherwise, the audience would’ve been treated to Dominic’s “The London Symphony Orchestra in their home, the Barbeque Hall”, Hannah’s F-word or, in one show, me suddenly leaping up out of my chair and screaming with excruciating cramp. 

Or maybe you’d like to see that?!