He’s wearing a pair of jeans and a tight fitting shirt.
The maestro steps up. He speaks gently to his orchestra before picking up a delicate baton with his right arm. With every movement, his arms flex effortlessly.
The baton makes soft and swooping loops to his left and right to awaken the violins and cellos. Melodious magic. His arms jerk and create violent upward movements to increase the tempo and introduce the drums.
All eyes are on him.
$20 is a bargain for the rehearsal. A part of me feels fear of missing the full-priced evening event, but I’m glad I’m here.
Not only am I hearing the music as they are created, but also the way the orchestra functions. The Conductor’s baton commands the musicians to dance, and they breathe life into their instruments.
Everything I hear is the orchestra’s execution of his delicate command.
Intermission
A piano is placed front and center, hiding the conductor from audience view. The power shifts to slender fingers of the man sitting in front of the grand piano. He is a world renowned pianist. His name is Jonathan Biss. The orchestra is no longer the main act.
The melody is complex; a cacophony of high-pitched chaos. My mind shakes into disarray. I feel a stir. It’s beautiful in its dissent.
The conductor stops the orchestra to correct a nervous violinist. She brings her clenched fist to her mouth. Few minutes later, it happens again. We can hear the Conductor’s every word. I’m sitting in the Mezzanine. I cringe.
After the first set finishes, the conductor shakes the pianist’s hand before giving a courteous feedback on his performance. He’s inaudible.
Life is just like the orchestra. Everyone plays his or her part. The conductor ensures the right tempo and mix of play. But even the Maestro may not be the main act from time to time. Based on the power dynamic, our engagement and interaction model changes to cater to the more powerful and well-known.