It’s one of the ironies of the profession that conductors seem to attract far less attention from press and public when conducting opera than big orchestral scores. Yet, I suggest to Tim Murray, the demands are at least as numerous
in the former.
‘There are lots and lots of things that you don’t think about until the first time you do it, like just how do you get all of these people together, some of whom are in the pit and just in front of you and others who might be up a ladder and facing the wrong direction, and a huge chorus who are a long way from you and are hearing the orchestra half a second late? That’s why it’s such good training, that’s why so many of the conductors that we look up to from the past started out in opera houses.’