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The past seventeen years as the music director of the royal opera house Covent Garden and he's also been electrifying his audiences as the music director of the Old Testament del academia Nacional de de Sumpter chia in Rome and throughout all this success surround Tony remains passionately committed to the future of classical music to could you tell me your investing in the young and it's your sixtieth birthday this year so a very very Happy Birthday to you thank you John well Tony your in the middle of a tour with the national youth orchestra of the USA now this orchestra is made up of players between the ages of sixteen and nineteen and they come from all across the United States and Tony although you were born in London with a sneer and to a tendon parents you actually moved to the United States with your family as a teenager exactly the same sort of age or perhaps a little bit younger than everyone who's here can you actually remember how you felt making music at that time I remember at the age of thirteen I wasn't particularly good already for three years I've been playing piano for my father's voice students so that part of my life gave me quite a broad spectrum of knowledge when it came to the voice but I really wasn't that great a piano player but I got good later after I moved to America but when I see these young people in this orchestra it does make me think of myself at that age but it said I didn't go to Conservatorium I didn't I somehow was somewhat isolated so I I have to say that there's a certain amount of frankly MD that I didn't have the experience that these kids are having well we've got we're delighted to say eight of the oak street here with us right now hi I am Sasha her I'm from Philadelphia and I play the cello hi I am I read concilio I'm from Lisle Illinois and I play the violin hi I'm Phoebe run I'm from Seattle Washington and I play the flute hi jury lane and I'm a violinist from Colorado springs Colorado hi I am exist of hollow I'm from Casper Wyoming and I play the cello hi I'm Roger content of fuels from Boston Massachusetts hi Matthew Garcia and I am a violist ranch in Texas hi my name is Jacob I am a percussionists from Orlando Florida so even with just eight there's a huge variety of distance geographically and places and all sorts of different things to talk about now you've been performing together on this tour so far in New York in Tanglewood which is in the Boston in Berlin and you were at the Edinburgh international festival and at the B. B. C. problems which is the world's biggest music festival jewelry are you finding I'm loving it this is the first time I've played in an orchestra of the scale to be able to play in an orchestra comprising musicians from as big a nation as America it's just a massive selection and it's such an honor to be chosen as one of the lucky few Roger if it's an honor to be chosen I think I'm right in saying that your almost the veteran here your nineteen years old and have the old man the only straight out that's that's the maximum age isn't it is yeah so was it a long journey getting here to this orchestra it has been yeah getting into and why it's been a long dream and it's amazing to finally get here into out of all places be able to play the BBC proms the concert house the concert about it's really an honor and Jacob known you play the timpani and the country yes Sir well I was a very very very long time ago the caution plates and also like you I walls also which you are now a budding conductor what do you feel you've got from being with certain Tonia in the last few days the last few weeks yes one of things that particular enjoyed is feeding off of his energy because it's very often to work with the conductor where you physically see them but it's hard to emotionally connect with them and I wanted things are issues the fact that you're able to find this energy inside of you and and bring out with the ensemble and when you're trying to communicate with someone you don't have to say verbally but instead you can communicate through your body into and through you know various motions and allow us to portray the music in a way that allows almost a truly enjoy it I think you've got a question to ask surrendering yes I do you talked a little bit about your background and piano and I'm wondering from there when you started getting more serious about music how you got into conducting or if it was something that you would always been interested in conducting for me was never an ambition my ambition for myself and what how my father so my career going his wish for me was that I become the world's greatest accompanist at the piano you know when I went to work at the New York City Opera as a pianist reserve rehearsal pianist I worked with some singers their who set up but you play the piano like an orchestra you play the the operas so symphonic clean certain when is it you've got to conduct this is what he's talking about whole idea of conducting the idea of standing in front of you know a hundred people and the idea of having authority was for me something that was so beyond scary but others imagined it for me and I started conducting it will I was awful but I did see that if I worked with the orchestra by coach the oaks of the way I coach the singers that I could be myself and I didn't have to be this fake figure of authority I think authority is something that at least to me as for a conductor is how good a musician you are really of course if you're really good musician then you can stand up in front of people and say now it has to be you know let's go this way let's you know you can guide things in a certain direction but the orchestra every musician in the orchestra must feel that you have a real command of or a knowledge of how music works you know how everybody in the orchestra fits into the fabric that is Castro music find out how everybody actually discovered classical music service double session my parents always really like classical music for always grew up listening to it and they actually signed me up for piano lessons when I was five but I think I really like hi my own break through when I was in eighth grade when I heard Jacqueline.

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