Tag Archives: London Symphony Chorus

Managing the things that matter

I’ve been following a discussion in recent days on LinkedIn about a blog posting by Jonathan Brown entitled Working late is no excuse.  The title succinctly captures the core message in an e-mail sent by the Managing Partner at a law firm to address lateness by fee earners – that working late in the evening is no excuse for a late start in the morning.  A reflection of our era, the e-mail clearly reached the desk of the author and went on (if Mr Brown is correct) to “go viral”.

It took me back to a time when I worked extensively with one of London’s “big five” law firms, back in the late 80s and early 90s. Many of my contemporaries (including some of my buddies in the London Symphony Chorus – how did they do it?) were young lawyers working their socks off in this and other firms. They knew they would get a partnership or a nice juicy job outside the firm and experienced the long hours as a fair exchange. As the recession bit, though, the “jam tomorrow” become a possibility rather than a certainty so that people began to reconsider their options. Notwithstanding the recession (threat of redundancy etc.) young lawyers started to think twice about putting in so many hours.

One commentator on the LinkedIn thread crisply summed up one point of view:  “This is another example of lazy management – managing what’s easy (the number of hours people are in the building) as opposed to what’s important (what they achieve for the organisation). How many examples have we all witnessed over the years, of managers judging their staff by how long they are sitting at their desks as opposed to by what they actually accomplish while sitting there? It’s sad to think that even in a law firm top management can’t come up with a smarter way of evaluating its staff’s contribution”.

Sometimes, managing time in this way is indeed a proxy for more meaningful management of performance, as if time equals – in the long run – results.  We all know it doesn’t, but what do we do differently if we want to manage performance pending the results?  As it happens, I recently initiated another thread on LinkedIn about the use of a coaching style of leadership.  As I write I think of some of the sales managers I have interviewed over the years – for developmental purposes, assessment or promotion – who have described sitting down with members of their team and asking them in considerable detail about how many calls or visits they are making per day or week and with what outcomes.  This kind of on-the-job coaching gets under the skin of “hours per week” and can give a real boost to staff performance.  In short, it’s possible that our Managing Partner just didn’t stop to think about what’s really important in the workplace and how to manage staff in ways that boost real performance.

It’s also possible that he committed an entirely different error (though, I confess, I doubt it) – the error of failing to explain adequately why an action or expectation is important.  I recognise that this is something I have to remind myself to do – because at times something seems so obvious to me I think it doesn’t need saying.  Often it does.  Reading the Managing Partner’s e-mail it’s not clear how a few minutes’ lateness impacts on performance or why turning up on time really matters.

It certainly seems to be a general view that the tone of the e-mail – familiar to me, I confess, from dipping my toes from time to time into legal waters – is unlikely to raise levels of motivation and engagement across this particular firm.  But this, perhaps, is a topic worth unpacking in another blog posting.  I’ll leave it for another day.

Covey’s third habit: put first things first

I am sitting at my desk today, reflecting on the death of my Uncle Tom following his funeral on Tuesday.  I am still finding it hard to believe that he is no longer with us.
Tom died within hours of our performance of Mozart’s Requiem and since that time we have been rehearsing Brahm’s German Requiem.  Of course, the words of a requiem are evocative.  Especially, I keep hearing denn ihre Werke folgen ihnen nach.  In my copy of the Brahms, the words of the final movement are translated as Blessed are the dead which die in the Lord from henceforth.  Sayeth the spirit, that they rest from their labors, and that their works follow after them.  This phrase – that their works follow after them – touches me deeply.  Tom’s works do indeed follow after him.  The eulogy was a celebration of some of those works and of the man who was so fondly remembered.  They are reflected in the memories which each of us treasures.  They are reflected in the love of so many people towards him.  You could even say that my cousins, themselves much loved and treasured, are amongst Tom’s “works”.
In the midst of everything that accompanies a death, I have also had a small voice reminding me to return to a series of postings I began some months ago, following the death of Stephen Covey in July 2012.  It is time to write about Covey’s third habit, as described in The Seven Habits of Highly Effective People – put first things first.  In this chapter, Covey describes how highly effective people manage their time.
Covey’s thoughts in this area are beloved of trainers and of other development professionals as well as of readers of his book.  One of his offerings is a two-by-two grid in which to plot the actions on our ‘to do’ lists according to their level of importance (high or low) and urgency ( high or low).  The point is, if we are constantly spending time on things that are urgent but not important, we are unlikely to be highly effective.  Most favoured by Covey is Quadrant II, that is – those activities that are important but not urgent.
But how do we determine what is important?  Covey invites us to look at the various roles in our lives – parent, spouse, leader etc. – and to identify weekly goals against each role.  We can use these goals to schedule activities for the week ahead, taking time each day to adapt our schedule in the light of new developments.  He also includes the idea of “sharpening the saw” about which we shall hear more when we come to Habit Seven.
Now, I must confess that there has been a gap in time between reading Covey’s chapter on putting first things first and writing this posting and this leaves me with something intriguing.  For what I took most to heart when I read this chapter – and now cannot find as I skim through it again – is the idea that effective time management is about knowing what we want in the broadest sense, and taking steps to move towards it.  Coaches sometimes invite people to imagine themselves sitting on a bench in their old age (hence the photo, above) looking back on their lives and to ask themselves – what would they most like to look back on?  This can be a powerful means of connecting with those things that are most important to us.  Many a senior executive has found himself taken aback by the realisation that he (or she) is spending more time on work than on tending precious relationships. 
Covey’s tools and techniques are not, he says, about time management – though he also refers to his approach as the fourth generation of time management.  They are, he says about self management.  Hanging out in Quadrant II requires us to understand what is most important to us and to manage our schedule in line with what is most important to us.  At the end of a life, our commitment to live a life in line with our values is reflected in the myriad memories of those we leave behind, as well as in the feelings they evoke.
To my Uncle Tom I say a loving thank you for these memories.

The concert you didn’t get to hear

Simon Halsey in rehearsal –
a gesture we have quickly come
to understand

It’s months since tickets for our concert on Sunday evening sold out so that I didn’t send the usual alert to friends.  I’m not sure whether it was the lure of the programme – Elgar’s Cello Concerto followed by Mozart’s Requiem – or the prospect of having Sir Colin Davis as our conductor, or Tim Hugh as soloist, that made the programme so attractive.  Last week I checked and found a lone ticket (a ‘return’) – just one – available.

As a chorus, we have been rehearsing assiduously for a performance from memory.  This is something we rarely do so that the question “how do I learn a piece from memory?” is as important as the intricate detail of the piece itself.  Some members of the soprano section were taking steps well before Christmas, using our travelling time (to Luxembourg and Paris in December) to go through the score again and again.  I have been less assiduous, though I did take advantage of a recent day trip to Edinburgh to go through the score in some detail.  Mainly, though, my strategy has been to sing without a score in rehearsals and to notice what I can sing with confidence and what details I need to revise.

Who’s idea was it to put us through this challenge?  It was Simon’s – that’s Simon Halsey, newly recruited to the posts of Chorus Director of the London Symphony Chorus and Choral Director of the London Symphony Orchestra.  Simon clearly has a strategy – or perhaps one should say any number of strategies.  He has brought a kind of musical OCD to our preparation, diving into all sorts of details, letting us know where we need to improve and how.  He has also planned a generous number of rehearsals.  In the run up to the concert we have rehearsed on Tuesday and Wednesday before meeting our conductor on Thursday and rehearsing again with the full ensemble on Friday evening and Saturday and Sunday mornings.  By the time we sing on  Sunday evening I feel confident that I know the piece well and that my neighbour on the podium knows it even better.  I am also grateful for Simon’s advice to save our voices for the concert.

Some time ahead of the concert, we learn that Sir Colin will not be our conductor.  This is not entirely a surprise (we know he has been ill) and is met with a mixed response – much beloved of chorus members, we are both disappointed not to be singing with him and pleased that he is taking care of his health.  In his place, we have Yutaka Sado, who worked for a number of years as assistant to Leonard Bernstein and Seiji Ozawa and with whom we are working for the first time.  Sado’s sweeping gestures in full flow remind me of Bernstein’s grand style of conducting and, at the same time, I am grateful to him for his assiduous support of the chorus, bringing us in throughout the piece.  The orchestra violins seem to be taking more notes than I have ever seen before, conferring with each other throughout our rehearsals.  Perhaps they want to do a good job (and indeed they do).  Somehow, though, the description of a class of school children testing their supply teacher rings more true.

And what of the concert itself?  The programme is magnificent.  Tim Hugh plays the Elgar with great assurance and I find myself bathing in Elgar’s rich soundscape.  In the Mozart, I find Daniela Lehner’s mezzo-soprano rendition rather forced but otherwise enjoy the ensemble of soloists.  Andrew Foster-Williams’ breath control in the Tuba Mirum is, well, simply boasting – anyone for a pint of bass?  Elizabeth Watts and Maximillian Schmitt both bring a fine tone.  Singing in the chorus I feel confident and assured and enjoy the richness of the piece, including the contrasts within it.  I am pleased to have saved my voice so that I am able to bring power and emotion to the Dies Irae and lightness of touch to some quiet corners in the Rex tremendae and the Confutatis maledictis.

Waking up on Monday morning I have a particular reason to savour this performance.  The news reaches me, not unexpectedly, that my uncle has died.  In my heart, I dedicate this performance to him and hope that he may, indeed, rest in peace.   

Sending you season’s greetings for Christmas, 2012

Christmas Day is just four days away and today I shall be sitting down to write Christmas greetings.  The last few weeks have been busy and I feel as though I am running to catch up.  I take a moment to – well, breathe –  and find myself looking back over the year which is rapidly drawing to a close and forward to the year ahead.

It’s been a mixed year.  Please don’t tell my Mum but in March, I was actually quite pleased at the thought of a sun-drenched drought and connected with pleasant memories of 1976 – and then it started to rain, and rain, and rain… My tomatoes were a wash-out, though many other vegetables did well despite the slugs.  Any suffering is nothing compared to what many people are enduring who have had to leave their homes in recent weeks due to flooding – it seems quite out of order to complain.

In London, people did complain about every aspect of the Olympics ahead of time – until the opening ceremony blew our socks off and we all (yes, I think it was very nearly “all”) got caught up in the spirit of the games.  After Chad le Clos unexpectedly beat Michael Phelps in the swimming I bumped into his father on the underground and enjoyed a moment of celebration for him and his son as our eyes met on the stairs.  It was a sweet moment.

It seemed to be a year of holidays for me as I took in a few days to soak up the Olympic spirit, a meditation retreat with my dear friend Andy, a week in Scotland (around Scotland by train – the photo is from this trip) with my mother and, just last weekend, Luxembourg and Paris on tour with the London Symphony Chorus.  In the choir, Simon Halsey has taken us by storm since he joined us in the autumn.

Work has been steady, with coaching and assessment at its core.  I have particularly enjoyed the quality of relationship both with coaching clients and with colleagues (you know who you are).  I had some articles published.  Some things have taken longer than I intended – my new website is still a work in progress and yet to be unveiled.  At the same time, the process of working on my marketing and website has helped me connect to my yearning for one or two big projects in 2013 – working with an organisation to develop an effective senior leadership team, for example, or to develop a coaching style and culture throughout the organisation. I bless these yearnings and send them out into the world.

In my private life, there were entrances and exits amongst family and friends – my mother recently attended four funerals in a fortnight.  Some were timely but one was untimely – or so it seems to me at this time – and I hold his family in my heart.  In public life, one scandal followed another.  Barack Obama got elected for a second term.

I started the year in the midst of building works as my new kitchen was in progress – now much loved and enjoyed.  It ends with some work to the hall and stairs in progress – the sander, and Radio 4, are the background today to my writing this posting and sending Christmas greetings to you.

I would say “to you all” – but I catch myself just in time, taking time to connect with you – yes, you – individually even as I write.  I take a moment to notice what I wish for you as Christmas approaches and as 2012 gives way to 2013.  I notice I want the ultimate for you – not riches and prosperity in these challenging times so much as faith, deep faith, that your needs matter and that you will be supported on your journey no matter what life brings.  This matters not so much because (in the words of the song) there may be trouble ahead.  No, it matters because, when we have faith, as well as facing the challenges with equanimity, we can enjoy the good times without worrying for the future.

With that, and whatever road you are travelling, I wish you a merry Christmas 2012, and many good things in 2013.

When it’s time for the big leadership speech

Singing Berlioz’s Grande Messe des Morts
St. Paul’s Cathedral, 2012

Thursday, 2nd August, 2012.  It’s a date that members of the London Symphony Chorus have been urged to earmark.  It’s a date that some have been waiting for.  Simon Halsey, recently confirmed as Chorus Director for both the London Symphony Chorus and the London Symphony Orchestra, is due to address members of the chorus.

I come to the meeting with both excitement and trepidation.  I am excited because I remember the standard of the chorus when I first joined and yearn for a return to the same high standards.  I am trepidatious because I am not as young as I was when I joined the choir in 1986/7 and I’m wondering if I have what it takes to commit – this is both about the “will I pass my reaudition?” question (and in my case, “should I be moving to sing with the altos?”) and about the time and commitment the choir has demanded.  It’s quite something to sustain this level of commitment year after year after year.

Starting at 6pm, Simon addresses the choir for about half an hour before taking questions.  He sets out his stall in terms of aspiration – in summary, that the Chorus under his leadership will be a world class choir that consistently produces staggeringly (I think the word was staggering) good performances.  He has also anticipated questions, and lays out his stall in terms of how he thinks we might get there – this is not the time for the big cull, but rather, a time to invest in voice coaching and careful preparation.

This doesn’t mean that every question has been answered.  So, when it comes to the question that is on many lips (reaudition), Simon is candid in saying that, whilst he has yet to agree an approach to reauditions with the Chorus’s council, he won’t be reauditioning existing members of the chorus until he has worked with them for a number of months.  He talks about the approach he has taken with other choirs and also about the principles which underpin his approach.

Listening both to his speech and to his answers to questions, I notice that I am excited and reassured.  I have such a sense of relief that our new Chorus Director has aspirations for the chorus that take us beyond our (albeit rather good – at times) current standards.  I am excited when I think of the possibilities that this opens up for us and I am excited about the possibilities for me.

There’s also something else going on for me, remembering the many leaders I have interviewed over the years who have started their tenure in a new role or organisation with the ‘big speech’.  Halsey is continuing a long tradition which embraces leaders of all kinds, from teachers in the classroom (“when I tell you to put your pencils down, I also want you to stop talking and listen to what I have to say”) to the CEOs of significant organisations and yes, to men and women who have made history.

The big speech is not about charisma or grand, sweeping gestures – it’s about substance.  It’s about setting out a vision for the future which engages and a way to get there.  It is an invitation to sign up to a clear direction or to notice that this is not your path – to commit or to stand down.  It says things are going to be different – and this is how.

Of course, as such, the vision is the beginning of a journey.  Its impact depends on the leader’s commitment to making that journey.  Ahead lies the difference between real progress and “we’ve heard it all before”.

I am looking forward to making real progress.

When you need permission to see the wood from the trees

Every now and then I like to do something that coaches call ‘claiming a client’.  It’s a bit like asking someone you fancy to join you on a first date – letting someone know that you’d really like to work with them in coaching partnership.

In 2007 I reached out to an organisation whose service I have enjoyed for more years now than I care to remember:  Pret a Manger.  I wrote to the company’s co-founder, Julian Metcalfe, and told him how much I would like to contribute to the company’s success in my role as a coach.  As a result of reaching out I was asked to work with Glenn Edwards as part of his ongoing development.  Glenn has been Operations Director at Leon Restaurants for over 18 months now, though I first met him whilst he was still working at itsu – Pret a Manger’s sister company.  He had already had eight years with itsu when I met him and had built a strong relationship with Julian Metcalfe and with Clive Schlee, the company’s CEO.

Even so, when I started to talk with Glenn, I sensed that there was a risk for him of seeking to grow faster than was comfortable with itsu and I started to ask questions to find out what was going on.  As you can tell from Glenn’s later CV, he did indeed end up leaving itsu to join a growing brand which shares the Pret/itsu passion for good fresh food and for a level of service which, together, drew me to Pret a Manger in the first place.  (Recently, Pret’s new restaurant on New Oxford Street has become a regular haunt for members of the London Symphony Chorus before rehearsals.  You’ll often see me there on a Wednesday or Thursday evening at around 6pm).

The conversations I had with Glenn are an example of something coaches face on a regular basis – the possibility that the outcome a client and/or his or her sponsor most desires is not, ultimately, the right outcome for everyone concerned.  An individual may think his place is in such-and-such a role or with company X and still, when he looks more deeply, the role is only a partial fit to his or her most heartfelt needs.  The company concerned may want to retain a key member of the team and still – if only his or her manager will entertain the possibility – it may be that what’s right for my client is to move on.  This carries the risk for the coach of being seen as the agent of an unwelcome change.  It carries the risk for the coach that – by raising the question – he or she will be seen to be sure of the answer (which is always the client’s to determine).  Still, and even in the full awareness of these and other risks, it is the role of the coach to raise the questions that have not yet been countenanced, bringing them to consciousness for the client to consider.

Meeting with Glenn more than three years after we completed our coaching, I was curious to know how he looked back on our work together as well as how he was getting on in his new role.  He was kind enough to tell me and agreed to allow me to share his thoughts on LinkedIn as well as here on my blog.  He told me:

“When we finished our work together I honestly didn’t know how I’d benefitted from coaching.  A lot of things happened during and after coaching and yet I wasn’t making the link.  Later, I realised that the message from coaching was this:  it’s time to move on.


I realised I’d maximised my potential with itsu – coaching helped me to see it was time to move on.  I’d met the owners of Leon when they visited one of our restaurants so once I was ready to move it was the most natural thing in the world to make contact.  Working with itsu was formative for me – an important part of my career.  At the same time, I needed a new challenge and the opportunity to leverage my strengths to make a real difference to the business.  I’m glad to have found that with Leon.


Sometimes, people need the help from someone who’s one step removed from the situation.  You provided that through our coaching – and that’s why I’m happy to recommend you to others who need help to step back and see the wood from the trees”.

Glenn Edwards
Leon Restaurants

Reading Glenn’s testimonial I don’t want to take any more credit than is mine to take – at its best, coaching works because it helps the client to open up to truths that are already there if only the permission is there to see them.

(And yes, in case you’re wondering, I remain a fan of Pret a Manger, of itsu – and of Leon Restaurants, too).

Lost your temper with your staff? You need to express your regret

So, you did it.  Like Maestro Papadopoulos (see Lost your temper with your staff?  You may have lost more besides), you spoke sharply with a member or members of your staff.  Time has elapsed.  You realise you made a mistake in speaking in the way you did.  You’ve taken time to process your anger.  You’ve learnt from the experience.  What next?

You may be hoping that it’s enough to show up differently next time.  If you do, you’ll be joining the legions of bosses who, having lost their temper, are “extra nice” next time round – but it’s not enough.  Why?  After all, surely your staff can tell that you’re sorry from your behaviour?  Well, yes, and still, knowing this alone is not enough.

What more do your staff want?  They want understanding for the experience they had on the receiving end of your anger.  They want to know that you understand the impact it had on them – some call this empathy.  They want to know that you’re ready to take responsibility for your actions and eager to learn to handle things differently in future.  This helps them to feel safe.  They also want judgement – discernment, acceptance:  even if (especially if) you have to deal with performance that is below par, they need to know that you can separate them – the person, the people – from their behaviour.  These needs may be hidden from your staff behind their own “righteous anger” towards you – unless they have high levels of emotional maturity they won’t forgive you until you’ve expressed your regret.

Now, I do want to differentiate between expressing your regret and saying sorry.  This isn’t about beating yourself up or putting yourself in the wrong.  Nor is it about the kind of insincere apology that London commuters make even as they push you to one side to get to where they want to go.  This is about connecting with, and expressing, your sincere regret.  For Maestro Papadopoulos, such an expression might have gone something like this:

“I said a couple of things I regretted at our rehearsal on Tuesday.  I said it wasn’t acceptable to me that members of the choir were missing from our rehearsal and I said it in a way which put those of you who’d made the effort to get here on time in the wrong.  And I also compared the children’s choir with the ‘famous London Symphony Chorus’ in a way that put your choir in a bad light.  Afterwards I felt bad about this because I realised it was my nerves talking – I wanted to offer our audience a great performance and I felt anxious about the concert.  I also realise that, as amateur singers many of you came to sing at the end of a hard days work in preparation for a concert and the last thing you needed was to be on the receiving end of my anger.  I wish I had handled the situation with more grace”.


There is at least one paradox at play here, as there often is in life.  The first is this:  that beating ourselves up (“I made a right mess of that rehearsal… I shouldn’t have said what I did…” etc.) somehow doesn’t lead us to take responsibility for our actions.  Rather, it takes courage and self compassion to really step up to the plate.  A second paradox is this:  as leaders, it is our very ability to express our sincere regret about actions which fell below our aspirations that make our staff think highly of us.  We need to accept ourselves as human, just like everybody else, before we can make the kind of expression of regret that staff can receive.


So, I have said about as much as I want to say right now on the subject of losing your temper with your staff.  I wonder, what has been your experience?  And what have you found in these postings that has enabled you to do things differently?  I’d love to hear about your experiences via the comments section of this blog.

Singing the Grande Messe des Morts at St. Paul’s Cathedral

Photo: The timp line up for tonight's Grande Messe des Morts at St Paul's Cathedral - all 10 of them. It's completely sold out tonight but still a few left for tomorrow (http://bit.ly/PbpWlZ), and it'll be live on Radio 3 tomorrow too.
Yes, I was there, singing Berlioz’ extraordinary piece – the Grande Messe des Morts.  A requiem for the dead on a grand scale.  David Jackson, percussionist extraordinaire with the London Symphony Orchestra, took this photo of the timps section during rehearsal in the afternoon.  One of the players was a dead ringer for comedian Rob Brydon which intrigued me all the way through the rehearsal.  It was a noisy affair – the piece itself alternates between passages of great richness of sound and moments of sparseness.  (With more time I would hone my language in an attempt to convey something of this amazing piece).  And of course, in rehearsal, we shared the space with visitors to the cathedral with their murmurings and occasional applause.
The performance was altogether different.  Even with a full audience the sound space belonged to the performers and – more than the performers – to Berlioz.  The off-stage brass were high in the galleries so that the Tuba Mirum was a moment of high drama with the interplay between orchestra, off-stage brass and the men who were in fine sound.  I shall leave it to the critics to say more.
Singing in St. Paul’s is always a mixed blessing.  The sound reverberates around the space so that the old jokes are always about coming back in a week’s time to hear the performance for the last time.  There were moments when our conductor, Sir Colin Davis, paused so that we could, indeed, hear the sound before it faded away.  This is a new way of experiencing the phrase “right back atcha!”  This added to the heightened experience of an already grand piece.
At the same time, it is this very soundscape that makes it a challenging venue in which to perform.  You cannot rely on listening to know if you are singing in time!  There were moments when I thought fellow performers – singers, orchestra, off-stage brass – were ahead or behind Sir Colin’s beat and still, it’s hard to know what the effect was for the audience.
For me, it was something of a marathon.  Like all marathon runners, singers need the right shoes and the truth is that, for me, no shoes is the optimum way to stand for such a long period and also strictly verboten.  Still I might try it this evening (don’t tell my voice rep).  For yes, I’ll be performing again this evening before getting up at the crack of dawn tomorrow for a coaching session in the morning.  And now, I am on my way to meet one of my clients for another coaching session.
Before I press “publish” I take a moment to savour the rich privileges of a life in which I get to earn my living doing work I love and spend my spare time doing something else that I also love.  Maybe I’ll see you there this evening.

Berlioz and a tinnitus of timps

Shortly I’ll be closing down my computer to go and sing – I’m taking the afternoon off to rehearse at St. Paul’s Cathedral for a concert this evening of Berlioz’ Grande Messe des Morts.  Yesterday we rehearsed at the Barbican and I wondered, “What is the collective noun for timps?”  A herd of kettle drums?  I don’t think so… a tinnitus of timps, perhaps.  I counted thirteen – for this is a work of epic proportions.  We are also two choirs – the London Symphony Chorus and the London Philharmonic Choir.

Whilst our focus is on the concerts that lie ahead, there are memorable moments – striking in the moment – during rehearsals and yesterday was one.  We gathered at the Barbican’s concert hall for our first tutti rehearsal.  The orchestra alone filled the extended concert platform so someone came up with the idea of placing our conductor – our much loved Sir Colin Davis – at the rear of the concert platform, with the orchestra facing him and the choir singing from the stalls.  The Barbican was ours and ours alone.  The effect was to combine the grandeur of the piece with a sense of intimacy as if, somehow, this was a performance for us, and us alone.


As I start to gather together all that I need for this evening’s concert – concert dress, black handbag, music, make-up – I start to imagine the same musicians in the much larger venue of St. Paul’s Cathedral and to recognise the challenge we face.  Yesterday Sir Colin was so far away – will we be any closer today?  We need to watch him like a hawk to follow his tempi for with so many musicians we cannot rely on sound which takes time to travel.  And that’s before we factor in the pauses, the changes of tempo in the midst of movements…

I take time for one final action from my ‘to do’ list before I go and send a quick e-mail to friends and family before I go.  It reads:

Dear friends and LSC groupies


I’ll be going off to rehearse shortly for our two concerts (this evening and tomorrow) of Berlioz’ Grande Messe des Morts.  You just can’t beat the live performance of such an epic piece!


Still, in case you won’t be at the concert and would like to know what I get up to in my spare time, listen out on BBC’s Radio 3 tomorrow – for details just follow this link:  http://www.bbc.co.uk/programmes/b01jz3z1.  And if you’d like to book tickets you’ll find them at http://lso.co.uk/page/3090/City-of-London-Festival-2012-Berlioz-Requiem/544.


Much love


Dorothy


Memories are made of such moments as this.

Lost your temper with your staff? You may have lost more besides

Without fail, singing with the London Symphony Chorus inspires me – and often to write a blog posting.  Sometimes, the inspiration is “not in a good way”. This is the way it was last Tuesday.

It started well for me – I arrived early and listened to young pianist Benjamin Grosvenor rehearsing Grieg’s Piano Concerto in A Minor for half an hour before rehearsal began.  He was playing some stretches and some brief extracts – repeating phrases over and over as part of his preparation.  It was a reminder of the many years of practice that lead to concert standard.  Several days later I found myself singing Grieg in my head as I went to sleep.  What a beautiful piece!

Then our 5pm tutti rehearsal started.  A touch of Grieg and onto Carmina Burana.  How quickly things went down hill!  Within minutes Maestro Papadopoulos was expressing his dissatisfaction that members of the Choir were missing and in a manner I found rather unpleasant.  I was having such thoughts as “Don’t take it out on me that some people aren’t here – I’ve made the effort to turn up!” and “If you want me to sing well for you, try treating me with respect”.  I was also having other thoughts I prefer not to share online.  Later, when the raggazi (children) rehearsed their contribution, the Maestro told them how well they’d done – better perhaps than the “famous London Symphony Chorus”.  It was clear he was angry.  So were members of the chorus – as people left the platform after rehearsal everyone’s backs were up.

We had a few minutes with Roger Sayer, in the role of Chorus Director, who was quick to acknowledge our feelings of anger – and also to remind us to sing well for the sake of the chorus if not for the Maestro himself.  Afterwards, as I ate my supper, I reflected on the fears that often lie behind anger – was the Maestro feeling nervous, perhaps?  And I took time to use a well-honed technique to let go of the anger I felt before going on stage.  It was enough to help me to focus my energies on singing well and still, I noticed that I took a little pleasure when the Maestro made a rather obvious mistake during the concert and also that I didn’t warm to those after-the-concert didn’t-you-do-well signs from the Maestro.  Not for me the cycle of punishment and reward!

The trouble is this:  that anger begets anger.  Not anger per se but the expression of our angry thoughts as if they are some inviolable and objective truth. (They’re not).  As a leader we lose our authority and the respect of those we lead when we express our anger in this way.  We also risk losing the best contribution of those we lead:  people need to know that you’re working with them – on the same side – to feel safe to acknowledge their mistakes as well as to risk their best performance.  Far better to play it safe if you expect a rollocking every time the boss is not happy.

I want to be clear:  we’re all angry at times.  So a key challenge for us as leaders – as well as partners, parents, children, human beings… – is to know how to respond when we’re angry.  One of the worst things we can do is to hold on to the idea that somehow we were “right”.  This opens up a widening gulf between ourselves and those we lead.  And in case you’re wondering “what else can I do?” keep reading – I’ll be offering some thoughts during the days ahead with all the humility of someone who, like you, gets angry at times.