Toting around a full orchestra on tour is very ambitious. I would consider doing a show now and then, like do a show at Radio City or Carnegie Hall with a full orchestra.
Sentiment: POSITIVE
I don't find touring very creative. There's not much time to yourself with your instruments.
Concert-going has become much less the thing to do, while people are still going to opera. This might be a harsh judgment, but it could easily happen that orchestras could slowly atrophy.
Over the years, I've loved being on stage with an orchestra, waving my hands around.
I love working with an orchestra, but there are many ways to make music.
I've been lucky to conduct the very best orchestras in the world: New York, San Francisco, Chicago, Berlin, the London Philharmonic.
Touring has been a major part of my career. I've done a lot of huge shows, including a 13-night sell-out stint at the Indoor Arena in Birmingham, playing to a total audience of 65,000.
I say to string players in small chamber orchestras, 'it's always easy to become a passenger on the journey in sound, just adding volume to the whole. But if you play in an individual way, it makes the difference between good and great sound in an orchestra.'
Next year I'm going to be a guesting soloist with orchestras all over Europe, to start off with.
Because I don't take money, I'll go anywhere and do a benefit concert with almost any orchestra.
A tour is the most intense, stimulating way to hear music; it's the best form to receive it. There's genuine excitement from people. I feel like we've stepped up a level.