RESPIRO E MOVIMENTO®

DISCOVER YOUR REAL POTENTIAL

Interview: Daniel Pioro, Violinist

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Daniel Pioro

Who or what inspired you to take up the violin and pursue a career in music?

A joyful introduction to the violin at the age of 4 left me utterly obsessed. It was, and still is, my toy. The career side of things just happened. There was no decision, just a natural process.

Who or what were the most important influences on your musical life and career?

Anyone I’ve ever loved, anyone who’s ever inspired me, anyone who I’ve observed pursuing their dreams without feeling a need to fit in. So much inspiration comes from literature or a chance conversation.

What have been the greatest challenges of your career so far?

For sure, working with groups of players who have no interest in selflessly pushing themselves to the highest level possible. It’s hard for me not to be affected when I work (increasingly rarely, luckily!) with those whose sense of their own achievements far outweighs what they are giving to the music.

It’s an unfortunate reality that this is an all too common experience in professional music making, although maybe the same is true in all walks of life.

Which performances/recordings are you most proud of?

None. I just can’t think in this way. Pride and nostalgia. I just play. I experiment in the room, I attempt to do something in that moment that I’ve not done before… and then I move on.

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“Thinking of Your Performance As a Gift”: Does This Really Work?

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At the end of the day, yes, I think for some musicians, the “gift reframe” can be a helpful way to approach performances. With one caveat!

We have to make sure we don’t get too attached to whether the audience likes our gift or not.

The value of the gift reframe lies in its ability to focus our attention and energy on the doing and sharing and excitement behind our work, not the response to that gift by the intended recipients.

Do we wish our gifts would always be embraced with open arms, bright shiny eyes, and boundless joy and enthusiasm? Of course. But as any parent who has tried to find the perfect gift, cook the best meal, or buy the right clothes knows, the degree to which others will appreciate our efforts is not something we control… Good thing much of the fun is in the forethought and giving that comes before we see their reaction anyhow!

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Auditions Aren’t For Auditioning Anymore

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auditioning

 

I always have open calls for my shows for three reasons:

  1. I think it’s the right thing to do to make auditions as accessible as possible.
  2. You never know when the next superstar is going to walk in the door.
  3. Auditions advertise the show without having to pay to advertise the show.

Auditions are one of the easiest ways to get the word out.  The announcement usually generates press, whether that’s the TV response we got for the open call of my Broadway revival of Godspell, or whether that’s an announcement in a local paper for the local Community Theater production of The Music Man. 

And I got news for you  . . . people that audition for theater go see theater.  Those people in line are your ticket-buyers (I’ve done special offers to auditionees before and have seen very good results).

Open calls are what I call a Marketing Perfecta . . . because both sides win.  You get the word out and a chance to discover new talent that you might not have seen otherwise and people get their shot at their dreams.

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5 Quotes to Inspire You to Greatness From Sting

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sting

“One of the rewards of success is freedom, the ability to do whatever you like.”

“A lot of people approach risk as if it’s the enemy when it’s really fortune’s accomplice.”

“You have to be yourself. Stay true to who and what you are. And if people still like you, that’s great! If they don’t, that’s their problem.”

“I realize that nothing’s as it seems.”

“I think love has something to do with allowing a person you claim to love to enter a larger arena than the one you create for them.”

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Interview: Jamie W Hall, Bass Baritone

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baritone Jamie W Hall

Who or what inspired you to take up singing, and pursue a career in music?

I was something of a surprise to a thoroughly non-musical family so my first singing heroes came from the world of TV and musical theatre; Michael Crawford, Michael Ball and particularly Harry Secombe. It wasn’t until I found myself at university – a second-rate pianist being nudged towards the vocal department – that I began to take my own voice seriously. I was taken in hand by an excellent teacher and found inspiration from the absolutely wonderful recordings of Dietrich Fischer-Dieskau.

Who or what have been the most important influences on your musical life and career?

At 32 my career is barely begun but the biggest influence across all the branches of my career is my membership of the BBC Singers. I’ve been a part of the ensemble for 8 years and I most certainly would not be the musician I am today without that experience. When I joined the group I was in no way prepared for what would be expected of me day in day out. The great beauty of the group though, is that it is the vessel in which is contained a near-century of experience and expertise and I found myself surrounded by older colleagues who have taught me by their own example just about everything I know today. As a singer, as a conductor and as a composer I have been shaped by the BBC Singers.

What have been the greatest challenges of your career so far?

As a non-singer turned cutting-edge contemporary choral musician I suppose getting over the horror of sight-singing was a big hurdle. These days I think I’m probably as able a sight-singer as most.

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