Q & A with London Philharmonic conductor Karina Cannellakis
Karina presents the penultimate episode in Scala Radio's current series of 'On the Podium'
In addition to curating a special edition of Sunday Night Scala On the Podium for Sunday 24 May, Karina Cannellakis has already been working with the Benedetti Foundation in May in a series of virtual workshops leading in a special performance of Ralph Vaughan Williams Fantasia on a Theme by Thomas Tallis.
We've embedded the video below - a remarkable performance of the Fantasia created separately without a click track, using for demonstration purposes during the workshops.
The final concert will be premiered on YouTube on Sunday 31 May at 4.00pm__. We asked Karina a few questions about her experience working on the project, and how she's been managing herself during lockdown.
It sounds like you’ve been very busy during lockdown. In addition to appearing on Scala Radio this evening, you’ve also been working on a learning and participation project Nicky Benedetti. What have you learned about yourself on this project?
It was the first time I’ve ever video recorded myself “air conducting” and singing a piece. This was very eye-opening. Conducting is all about being connected to your inner singing voice, and sometimes the most effective way to communicate something in a rehearsal is just to sing it.
Tell us about the recording. You made a point about recording the Thomas Tallis without a click track. That suggests you were striving for a performance as authentic as possible? Or perhaps to promote a more instinctive style of ensemble playing despite the challenge of tuition over YouTube.
I guess I don’t see the point of having a conductor if we are just using a click track, then it’s sort of just for show, and no one learns anything from that.
I wanted the participants to feel what it’s like to play in a professional orchestra where one needs to balance self-expression with group blending, and feel the ebb and flow of the music along with the other players around you.
There is a lot of “using your imagination” in this project, as well as learning to have a sense of taking time, which I think is a beautiful thing.
This crisis can also be a hugely creative and inspiring period for a lot of artists, if they choose to spend the time wisely.
What did you have to change in your thinking and communication about the piece and your work in order to create the instructional video?
I didn’t change anything, I just used my imagination and tried to conduct and emote the piece as I would with a real orchestra.
Conducting is not beating time. It is using eyes, hands, and body language to coax players into a common interpretation of the character and intention of each passage of a piece of music. It’s a powerful form of communication without words.
How have you managed your well-being during lockdown? What do you think are the three most important things.
I am actually having a really creative time. I certainly do NOT miss airports.
My advice is this.
Set an alarm and have a morning routine. Drink a lot of water. Do yoga and breathe. Get outdoors, focus on projects and working hard, set calendar alerts to keep on track, cook yummy food, video chat with friends and stay connected!
And remember, this isn’t going to last forever, so it would be a pity to look back and think “what did I do with all that time?”
Karina Cannellakis is the Principal Guest Conductor of the London Philharmonic Orchestra from September 2020. Hear her on 'Sunday Night Scala On The Podium' from 8pm on Sunday 24 May.