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Há qualquer coisa de facto especial nos músicos saidos do El Sistema, não é um concerto igual a outros, toca-nos, mexe connosco, ninguém consegue ficar sentado impávido na cadeira.
“The applause feels visceral. Rather than leading the musicians in another regular bow, Dudamel motions for them to swivel and face the $17 seats known as “orchestra view”. The noise climbs another few decibels, and in our brightly coloured seats in the stalls, here in the music hall that Gehry intended to be a “living room for the city”, the CEO of the LA Phil, Deborah Borda, leans in towards me.
“That was something he did instinctively, first time he ever performed here,” she says. “Now you think about it, it’s obvious, to turn the orchestra around and include all the people behind them. But it had never occurred to any conductor to do it before.” Dudamel, a surprisingly short figure for a towering presence, remains planted within the ranks of his orchestra. Much in demand around the globe, he is only in LA for about 15 weeks a year. Have any visiting conductors learned from his approach? “Not a single one.
“So I ask instead about that communal bow: is it a conscious decision not to enjoy a moment of individual glory? “I don’t see another way!” he says, with a wide smile. “The conductor is just a person who is part of the team. Imagine I was just ‘conducting’ here, now: you would receive nothing. You’d think I was just some crazy guy waving my arms around.” Then the man who has been labelled the Musical Messiah points out something most conductors have either forgotten or never believed. “The thing is, you need the orchestra. You need them much more than they need you.”