This article was published in the January 2018 SEMFA newsletter.
Audition season is rapidly approaching and in preparation, I have been reading a lot of books and articles that contain various tips and tricks teaching you how to calm nerves and feel super prepared. The books "Audition Success" by Don Greene and "Six Weeks to Finals" by Sharon Sparrow have been especially helpful throughout this process. If you are anything like me, experiencing nervousness before auditions has the potential to drastically alter my performance. In an attempt to "cure" my own nerves and learn how to practice positively and mindfully, I have discovered some methods of preparation that work very well for me when preparing for auditions. I have compiled a short list of the 5 most effective audition preparation tips based on my readings and past audition experience.
I first learned about this technique by reading the book "Audition Success" by Don Greene, where he worked directly with clients auditioning for various major orchestras. An easy way to sum up the concept of centering is to first come up with "cue words" for each piece in your audition repertoire. These words or short phrases should capture the way you feel when you listen to this piece or excerpt, or the way you wish to feel (i.e. flowing and relaxed, light and bouncy). Before a run-through of a specific piece or excerpt, do something to get your heart rate up (jumping jacks, running in place, running up and down a flight of stairs, etc.), and then try to reduce your heart rate and "center" yourself within nine breaths. The first three breaths should focus on lowering your heart rate, the second three focused on relaxing all of your muscles, and the third to focus on your cue words for the excerpt you are about to perform. The goal is to eventually reduce the amount of breaths you take before you begin an excerpt, but it is beneficial to practice with nine at first.
2) Mock Auditions
Mock auditions are, in my opinion, perhaps the most important tool for audition preparation. In Sharon Sparrow's book titled "Six Weeks to Finals", she describes many different types of mock auditions that you should schedule before your audition. She discusses "visual" mock auditions, where you close your eyes with your flute in your hands and visualize yourself entering the audition room, acknowledging the panel if it is an open audition, playing through each of your pieces successfully, thanking the panel if appropriate, and exiting the stage. She also describes performing mock auditions in front of people that make you nervous, such as a professional flutist or friends you look up to. Have your put-together panel ask you as many realistic questions you could receive during the real audition, have them choose which pieces they would like you to play, and have them stop you in the middle of a piece as a panel may in a live audition. You could also try to find out what type of room you will be auditioning in (i.e. a large concert hall, a small recital hall, a classroom, etc.) and schedule a mock audition in a similar type of room at your current school or in your hometown to practice entering and exiting while visualizing that you are at the audition. "Six Weeks to Finals" contains a six-week audition preparation guide that has proven to be successful with many professional and pre-professional musicians.
An element that I typically add to my audition preparation process that has proven to be very beneficial is taking five minutes out of my day to meditate. beginning a few weeks before the audition. Taking this short amount of time to "center" myself and train my mind to set an intention for my practice session or my day overall has allowed me to hold a more positive mindset while in "training mode" for auditions. It is very easy to think negatively about yourself in times of stress, which can be harmful to your progress. Practicing to set a positive intention at the start of your day will translate into your practice sessions and eventually your audition, and positivity contributes to successful performances.
4) Have a Plan
I have recently signed up for Rob Knopper's auditionhacker newsletter, which included a downloadable PDF of an "audition cheat sheet". One of his tips on this cheat sheet is to mark your calendar with a plan for every practice session between now and the audition. In Sharon Sparrow's book "Six Weeks to Finals" and in the book "Audition Success" by Don Greene, they both discuss the importance of planning out each practice session in preparation for an audition as well. Something that has worked well with me in regards to planning out my practicing is to first create a list of the required repertoire, playing through each of them and ranking how comfortable I feel when playing each piece between a scale of 1-10. I then sort each piece into three categories: 1) very prepared, 2) moderately prepared, 3) work in progress. It is very important to keep each category labeled positively to ensure that the "category threes" do not trigger any negative practicing or "cramming". From there, I write a practice schedule and devote the most time towards my works in progress, devote slightly less time to my "category 2s", and be sure to get at least one run through of each of my most prepared pieces every session to keep them fresh. As my practicing progresses, it is possible for my most prepared pieces to now need more work. It is important to gauge your progress on your repertoire each week and note that the ranking may change based on the amount of work you have put into your pieces that needed it the most. Having a practicing plan can help keep you motivated and can be rewarding as you see yourself progress each week.
5) Be organized
If your auditions require travel, have your travel plans set weeks in advance. Have your flights and hotels booked, and be sure to refer to the travel recommendations page on the university or conservatory's website before booking. Sometimes local hotels offer discounts for auditioning students, and that information can be found on the travel recommendations page on the school's website as well. I like to print out any audition confirmation, information for auditioning students document, and even sometimes email confirmations from prospective teachers for any private lessons you may take with their rates included. I keep these in my "audition binder" along with copies of all of my music and a list of repertoire requirements for each school. Staying organized and filing all of your information as you receive it may save you some stress as you get closer to the audition itself so that you can focus on being prepared to the best of your ability!
Below are links to the resources I have cited in my article as well as many other sources for your reference regarding the audition preparation process:
Don Greene: Audition Success
Sharon Sparrow: Six Weeks to Finals
Rob Knopper: Audition Cheat Sheet
The Bulletproof Musician: 7 Preparation Tips for Successful Auditions
The Bulletproof Musician: Start Your Audition Off on the Right Foot!
By: Francesca Leo
This article was published in the January 2018 SEMFA newsletter.
In the Spring of 2018, Amy Porter will be releasing a new DVD, publication, and download cycle celebrating Philippe Gaubert's complete works for flute and piano. The DVD and download cycle will be titled "Gaubert Cycle: The Complete Works for Flute and Piano", and the Carl Fischer publication containing editions of each of these works will be titled "Gaubert's Treasures". Recordings of Amy Porter performing these works by Philippe Gaubert are available on equilibri.com for $9.99 or $19.99 and trailers for her recordings of all 16 works for flute and piano are available on youtube. I had the pleasure of interviewing Amy Porter herself regarding her upcoming publications, and below are excerpts from our recent skype interview.
FL: "Would you like to talk a little bit about your upcoming publication titled 'Gaubert's Treasures'?"
AP: "Yes! Philippe Gaubert was literally discovered by Jules Taffanel (the father of Paul Taffanel) while he was walking down the street in a town outside of Paris. He heard a flutist playing and thought ' he's really good, and MY son Paul is really good too', so he took Gaubert to Paris at age 14, and taught him everything he knew. Gaubert eventually became an elite musical personality - I call him the 'Leonard Bernstein of Paris'. He was a flutist, flute professor, editor and conductor. They put him on the podium and said 'Philippe! Get up here and conduct!' and he became the conductor of the opera. At the time, he was conducting, teaching, and then he started composing. The "Nocturne and Allegro and Scherzando" is the second piece he wrote for flute and piano. That's really the one piece we know. Then we learn about "Madrigal", and if you're really good you know the Sonatas. And then if you're really good, you know that he wrote a "Romance", but did you know that he wrote two Romances? The more you look into it, you find that all of these different pieces by Gaubert start appearing and you say 'wow, these are so beautiful! Why aren't they in one place?'. I am an inquiring mind, constantly. I'm always circling things and using post-it notes, and when it all comes together as an idea I make it happen. That's what started to happen. I was playing with Tim Carey when he came to play for my class Anatomy of Sound and Tim Carey can play anything when it comes to flute and piano repertoire. So I decided if I could use Tim Carey, then I can record Gaubert's repertoire and I had a teaching assistant to help me. Merryl Neille got interlibrary loans and got all these different patchwork editions that were out of print or in print and public domain, and we compiled all of sixteen works for flute and piano. One of them, "Sicillienne" is actually for flute and orchestra and then it became a flute and piano piece later so I transcribed that,. Then there's another piece called "Divertissement Grec" for two flutes and piano, but it can also be played as one flute with the right hand piano playing the second flute part. I recorded with Tim Carey in Hill auditorium over a two-day period in 2016, and we filmed and recorded all 16 flute and piano works. It's on YouTube and see the trailers for them. Equilibri.com is where everything is being uploaded, and the recordings are downloadable for $9.99 and $19.99 for the longer works. Penelope Fischer (winner of the National Flute Association Service Award) wrote her doctoral thesis on Philippe Gaubert, from which a couple of books have been published citing her. I always have a historian on my DVDs so I thought it would be nice to put her on camera and for her to be the historian for this study guide. She agreed. So, a month later, we filmed for another two days. We have some amazing footage. Penny talks about Moyse and how Gaubert gave him the first prize for playing his Nocturne and Allegro Scherzando. Penny's eyes get all watery when she talks about Gaubert or Moyse and I just wanted to document that love that she has for them. The thesis was published in 1984, so I wanted to bring Penny's thesis back into our libraries. We feature the Gaubert oeuvre in 2 sections - pre-World War I and post-World War I. Gaubert served in World War I and he was given a medal of honor. He served in the battle of Verdun, and when he came back he plunged back into his art and did more than ever and wrote more flute pieces than ever. I am just thrilled to put them all in one place on film. Then, my publisher Carl Fischer said 'let's take your version of the performances, which probably have been edited', and I said 'yes, I break some slurs and I correct some dynamics', and he said 'let's do an edition'. I'm going to do the shorter pieces and I'm going to end with the "Suite". It's in four movements, and each one is dedicated to a different flute player. It's so beautiful! Every single piece he wrote has a dedication to a friend. It is incredible. On the study guide you will see a picture of the dedicatees, we talk about the piece, Penny explains the form, and then I perform it with Tim Carey in Hill Auditorium with two cameras. It's beautiful. The publication is being drafted now."
FL: "That's going to be a wonderful resource, I am really looking forward to that coming out! Thank you so much for your time, and I am looking forward to writing this article!"
Interview by: Francesca Leo
This article was published in the January 2018 SEMFA newsletter.
Performing a concerto with an orchestra is a very unique process. While we all possess individualized pre-performance regimens, performing a concerto with orchestra requires not just a collaboration between yourself and your pianist, but a collaboration with yourself, an entire orchestra and a conductor. I have been interested in learning more about the concerto preparation processes of artists who have spent much of their lives performing them. I wanted to reach out to an incredible artist who has performed as a concerto soloist with many orchestras around the world. I recently had the opportunity to interview Amy Porter, Professor of Flute at the University of Michigan, regarding her preparation process for performing concerti. I wanted to know about the things she does in preparation of her concerto performances, and any advice she may have to flutists who are just beginning their journey of performing with orchestras. Below you will find excerpts from our recent Skype interview.
Amy Porter will be performing Trail of Tears by Michael Daugherty on Saturday, February 17th with the Flint Symphony Orchestra at 7:30pm at The Whiting. Tickets are available for purchase here.
FL: "What has been your favorite concerto performance to date, and why?"
AP: "I'll never forget it, actually. Oh, it makes me cry! I had a broken hand."
FL: "And you still played?"
AP: "Yes. Here's the backstory. It was 2012. You can't blame your dog when they pull you on the leash and you're not ready to react. I had turned around to say something to my niece who was walking with me, and I said the word 'okay', and that created a pull on my dog who had seen a squirrel and 'okay' means she can run. So the dog chased the squirrel with me holding the leash and pulled my finger out. I fell. The first time she pulled, the doctor said 'don't hurt yourself again!', so of course, I was running with her and we got close to home, I started to sprint. She took off towards the house and pulled me a little too hard and I rolled and fell on the same hand. The lesson I learned is that on the dog walk, you have to pay attention to your dog completely. Now, I walk two 88 pound dogs and I'm not fearful of hurting my hands because I'm better about my grip and this has been a big lesson. So, I now walk the dog's walk and not Amy's run. So- I fell two weeks before a major flute festival in Taiwan, where I was to play the Liebermann Concerto with orchestra. I called my doctor and I got right in. Three surgeons came into the room and looked at my hand and decided it wasn't necessary to operate, it was just a metacarpal bone break on the side of the left hand which would heal. So the remaining doctor asked me what was next in my career on the flute. I answered, 'I have to get on an airplane to Taipei and play with an orchestra in two weeks. And I will do it.' Then he asked me a very interesting question. He didn't forecast my doom and gloom and he didn't tell me what was going to happen, he just asked me this question. 'Well, how many notes do you have to play?' Well, that's a great question, because the first nine pages is the first movement. This piece has a lot of notes! He said 'can you play fewer notes?', and then he said 'can you take a week off?' and I said 'Sure! I could get back to it after a week, I'm pretty stable on the flute', so I showed him what I did physically with the flute and he said I would have to wear a brace for 2 weeks and go into physical therapy, but I could definitely go to Taiwan. Then I had to call my manager and try to change the repertoire, and she had a wonderful outlook as well. This was during Hurricane Sandy! She was there in New York City, trapped in her apartment. I called and she said immediately upon answering, 'I'm fine!', and I said 'I'm so happy you're safe! So now I have a story for you. I fell and broke my hand and I have to go to Taiwan. I'd like to not play this concerto specifically' and she said 'well what do you want to play?', and I said 'the Trail of Tears by Michael Daugherty, because I could there are fewer notes and I could double tongue a lot of those notes and I have it ready to go'. She had to sell the repertoire change and she did it successfully.
There's a video of that actual performance on YouTube. "The Trail of Tears" with the Evergreen Philharmonic - two weeks after I broke my hand - and it was the best performance of my life so far, that I can remember vividly. When I woke up the next day, I wrote an email to six of the closest people in my life and thanked them for believing that I could do this. It doesn't just take one person to be a touring artist, It takes a staff of people because you have to keep on top of your game, playing in front of 1100 people. That might be a small audience to some but to me it's pretty big! I think my game has to be at its best, so the people behind me supporting me, my team, are my family and dear friends and doctors and managers - and so it really helped me get through the worry. I wrote them a thank you note at the end of that performance. And I am thrilled that it's on YouTube."
FL: "That's such an amazing story! My next question is: What are some tips you have for flutists who experience stage fright before major performances, and what helps calm your nerves before performing concerti?"
AP: "You must use the air stream to slow down your heart rate. It is a physical phenomenon. When the psoas muscle starts to tighten, we stop breathing. Fight or flight - so we fight. But we need to detach from the mind. So - a runner or a person who exercises will tell you that you can control your mind and heart rate when you run and while you exercise. Its pacing. You want to slow down your heart rate. When I am doing my makeup before I even leave to go to the hall, I feel a feeling I call a 'flutter-by', which is the nervous butterfly that flutters by , and I say to my mind, 'there's the flutter-by!' So, I breathe in and then I breathe out the syllable 'fff' or 'shhh'. That is a known way to slow down the heart rate. Why? Because, with the resistance, your exhalation is twice as long, if not four times as long, as your inhalation. The heart muscle will slow down, and the psoas muscle will release and you will feel like yourself again. So it is all about the breath. Using the breath for stage fright can be calming when the mind is letting you down. Now, practicing to perform is also important. You have to create a 'Circle of Excellence', and composer Michael Colgrass talks about that. It's also an ancient American Indian belief where a circle of light comes and shines down upon you in that circle. And in this circle is your life, your best performance you ever had, your favorite nature spot, your favorite childhood memory, your belief system in yourself, your confidence, and that circle has so much power inside, that you can't step into it with negativity. Lucky for me, Michael Colgrass taught me about the Circle of Excellence in my home. He stayed here seven times in our home while he was in residence at Michigan because I am the closest faculty member to the School of Music and I have a guest room and I'm a Colgrass fan. He unfolded a piece of yarn into a big circle in my parlor and it was green (because my eyes are green.) He said, 'step outside the circle and look inside the circle'. 'Put all of those things of your life inside the circle.' He said that I could practice inside the circle, but the moment I started doubting myself or talking to myself negatively I had to step out of the circle. The circle was super spiritual and personal, like an eggshell (Don Green calls it an eggshell, or some people talk about putting yourself within this bubble and not letting other people in). This circle, he says, starts to increase as you practice using it as your circle of excellence. So then the circle becomes as wide as my room, as wide as my practice parlor. And then my Circle of Excellence encompasses the house. And then guess what? The Circle of Excellence can encompass the city and the stage and the arena and the world! So your Circle of Excellence can go with you wherever you go... but not if you practice to perform within that place of fear."
FL: "That's wonderful advice, I've never thought about that!"
AP: " My Lessons with Kumi is the name of the book. It has changed a lot of people to be able to perform. The sports psychologist Don Greene teaches at Juilliard and he talks a lot about being the driver in your performance, and not the passenger. So if you are going to have a lot of fear and fall victim to the fear, you'll fail. Fear is actually a much more comfortable feeling to have if you're used to it. It's taking that chance and getting up and talking, playing or conducting in front of people that's scary but where the growth happens. Here's the thing about me, I am much more powerful with the flute in my hands. It took me awhile in my 30s and 40s to develop myself as a person without the flute in my hands. A lot of people are stronger with the flute in their hands, some people are stronger without the flute in their hands. I think the Circle of Excellence is a great teacher to achieve sustained excellence.
FL: "Thank you so much, that is a perfect answer! I have two more questions. The next question is: What are the most important aspects to focus on in situations where you have very limited rehearsal time with an orchestra before your performance?"
AP: "Know their part as well as your own part. In the first rehearsal I face the orchestra to let them see me play. The front of me is very different than the back of me, so sometimes the orchestra can miss all of the wonderful aspects of my personal journey with the music. So if they can see me, I teach it to them through my musicality and my relationship with my partner, the conductor. I place trust in the conductor to get us through that rehearsal process. One of the tools of etiquette that I would promote is not speaking directly to the orchestra, keep your mouth shut! Any question you have, for example if you think that the violas should be louder or you need to hear the beat of the timpani, then at a respectful moment, pause and ask the conductor 'if I could hear the timpani more, that would be lovely', 'the ensemble with the trumpet could be better', and that would then be negotiated through the conductor. Too many times I have seen a flute player start talking to the orchestra about what they want, and it makes the conductor powerless. It's the conductor who is running the show, not the soloist. So, given that the conductor has an accompanying role, he or she is my collaborator. I would whole-heartedly say - stay out of it if you have less time, and make sure that you are well-rehearsed with the conductor and you know the part of the orchestra better than your own.
FL: "My last question is: When faced with performing multiple concerti in a short amount of time, what is the most efficient way of practicing each to keep them fresh? How early do you begin to prepare each concerto on average before you perform it?"
AP: "3-4 months. One important thing to me is making sure that if I'm getting manuscripts from a composer and I have to print it out in single sheets, that I tape them together in a single form of music. The page turns and getting the relationship with the score is important. I'm not playing from a tablet yet, I might some day, but for now I love the music and I love it being in a score form. I have the "Silver Linings" Concerto by Frank Ticheli on my stand right now. Trail of Tears is in my head and I will start running that soon - but right now it's Ticheli, Ticheli, Ticheli."
Interview by: Francesca Leo
This article was published in the December 2017 SEMFA Newsletter.
As I approach my graduation date this coming spring at Bowling Green State University, I have found myself searching for unique musical opportunities that push boundaries of many classical traditions of flute playing. Having been surrounded by so much contemporary music during my time at BGSU, I developed a great appreciation for this genre and a great passion for performing it. This exposure to many different types of contemporary instrumental performances that utilize unique instrumentations, extended techniques, and cross genres with various different art forms has taught me that truly anything is possible within the music industry. I am interested in learning more about the journeys of professional flutists who have built careers outside of the orchestral industry, and I have taken a particular interest to the field of interdisciplinary performance.
This past summer, I served an internship with the National Flute Association at their annual convention in Minneapolis, Minnesota. Some of the perks of my internship included being able to watch dress rehearsals of the gala concerts, featuring performances by some of my idols. I first encountered Zara Lawler as I was monitoring the door for her dress rehearsal before the Sunday afternoon Gala Concert, the closing concert of the 2017 NFA Convention. She was running through her choreographed performance of Berio's Sequenza, which included acrobatic movements throughout a rolling metal frame, traveling across the stage while playing her flute.
I was completely in awe of how powerful and unique this performance was, and it was something I did not even realize was a possibility for flutists. Since the convention, I have thought about that performance frequently and wanted to find out more about Ms. Lawler's career and how she got her start in the field of interdisciplinary performance. Zara Lawler was gracious to answer a few interview questions from myself for this article, and her answers greatly impacted me in a very positive way as a performer. I will definitely be trying out her suggestions to incorporate movement in my playing in my next practice session! If you are interested in learning more about Zara Lawler and her upcoming performances, please visit her website at zaralawler.com.
1. What first inspired you to begin incorporating choreography and acting into your flute playing, and what are some of your favorite interdisciplinary performances you have given so far?
ZL: I have always loved spectacle. In music school, I LOVED when we would do operas and ballets, because it was so great to feel like we were part of something bigger. I never had the idea that I would actually move while playing until I asked my cousin, who was studying dance, if she would like to do a project with me sometime. She said yes, but she would expect me to move too. At first I balked! "What? Dance and play at the same time?" Then the next day in my practice room, I danced a bit while doing my scales and I was immediately hooked, and convinced it was a viable way to perform. Ironically, the collaboration with my cousin never happened, but that was the seed of the idea!
It's hard to nail down a few favorite performances. Directing the US premiere of Salvatore Sciarrino's Il Cerchio Tagliato Dei Suoni at the Guggenheim, was pretty amazing! It was so fun because it involved the whole NYC flute community--kids as young as six, college students, top freelancers, and a few stars like Carol Wincenc, not to mention our stellar soloists Claire Chase, Eric Lamb, Jayn Rosenfeld and Kelli Kathman...and it was a group effort of all involved to realize the composer's vision in a way that worked in the beautiful rotunda of the Guggenheim.
I also am really in love with TimeFrame, the choreography for Berio's Sequenza created in collaboration with Neil Parsons, my long-time choreographer/collaborator. It is SO fun and challenging, and compelling for the audience. And I get to stand on my head while playing the flute!
2. Did you always have a vision of incorporating interdisciplinary performance into your musical career, or has it been a passion that you have developed over time?
ZL: It's funny, my first performance on the flute was in fifth grade, for an event at my elementary school that was about the construction of the Tappan Zee Bridge (over the Hudson River), and the various buildings that were torn down or moved to make that happen. I played London Bridge Is Falling Down while people paraded by with hand painted representations of Victorian houses...so my interest in multidisciplinary community-based performances comes from the very first days of my flute playing!!!
That said, it has developed over time...and it took me a long time to really get deeply into it. Even though I did little projects here and there over a number of years after I graduated from Juilliard, it wasn't until I joined Tales & Scales, a group that specialized in combining music performance with dance and theater for young audiences, that I realized this was my real calling, my life's work. It was also in Tales & Scales where I met Neil who has choreographed so many pieces for me, and Paul Fadoul, my percussion partner.
3. How did the incorporation of movement and choreography benefit your flute playing and what are some exercises that interested flutists could try at home as beginners to introduce acting and movement into their own performances?
ZL: Playing while moving requires that your airstream be very strong...I feel like it is a great demonstration of the primacy of the airstream. It has also made me be very creative about where and when I breathe--I often have to take two or three times as many breaths as I would if I were just standing and playing. Another great benefit is that I don't worry much about tiny things, like my fingers. I find that many of the technical hang-ups and difficulties that I have when I am playing without moving evaporate when I start thinking about my big muscles (ie my legs, back, etc) instead of my small ones (ie my fingers and lips!)!
To get started, try dancing around while you play your scales. I like to just do something repetitive, like a grapevine step, or a fake Charleston, while I do my chromatic scales. Then, when I'm doing Taffanel Gaubert No. 4, I alternate standing still for one key (and its minor) and then standing in a yoga pose for the next key. It's kind of fun, and a little challenging, but not super hard. If you know some standing yoga poses (tree, warrior, goddess...), try it. If you don't know yoga poses, you can just make some up by putting your body into an interesting shape and staying there while you play your scales.
Then, think about a project you'd like to try...if you have an idea you have for a piece or performance, go for it! Make the moves up yourself, for find your friendly neighborhood choreographer and enlist him or her! Don't let lack of experience stop you...just give it a try. It doesn't have to be super fancy to be a good place to start. It also doesn't have to be long, or be the whole show. It's lovely to include an interdisciplinary piece on a more "standard" recital.
4. What is some advice you have for flutists looking to pursue a career in interdisciplinary performance, or a similar concept involving unique performance art?
ZL: How to cover that topic in a few sentences?! I think that interdisciplinary performance is definitely becoming a thing, though I think it still needs an official name. "Interdisciplinary performance" seems too broad, and too academic...but I don't have a better suggestion at the moment.
Nonetheless, I think it's important to work to realize one's artistic vision. It's always a good idea to enlist an outside eye--a theater director, a choreographer, another artist. You can't see what you are doing, and you can't really know if your vision is coming to life unless someone reflects back to you what they are experiencing.
I also thing funding is hugely important. Learn to raise money, either by grants or just asking your network to support the art. Pay your collaborators. Pay yourself. The challenge with such a new approach to work is that you can't just get a gig doing it...so you need to raise funds to make it sustainable.
And know that doing work that includes other disciplines takes WAY MORE TIME than doing a regular concert. Memorization takes time, creating movement or theater takes time, setting up in the performance space takes time, etc. But it's worth it!!
By: Francesca Leo