Gustavo Dudamel: You have to understand as a conductor that you are nothing without the musicians that you have in front. So, everything starts from admiration and respect. When you really put that first and then you put your knowledge about what you know and what you want to achieve, then it’s the right order of things. And it’s an opportunity. When you are in front of an orchestra is a gift. You know, it’s a gift to have the chance to guide these wonderful musicians that have played with the best conductors. They have developed their careers in the highest level. And you have the opportunity to be in front of them and inspire them. Because at the end the technical things, let’s say, are not difficult, when you have a professional orchestra in front, are not difficult to work with because the orchestras will do in one minute. But how to guide them in a journey of inspiration with music, not only would be charming or beautiful or moving, no, it’s something about that kind of mystery, this mysterious moment that we have every rehearsal and that it gets the real dimension during the performance. This is something that you, you have to know or you have to let this happen in the most natural way. When you force that, then it gets out of context. And I remember that first concert with, with the Philharmonic, with Los Angeles Philharmonic, it was very beautiful because I was at the Hollywood Bowl, and it was really beautiful like this, you know, beautiful with [unclear] and Tchaikovsky. But then my first subscription was that one also in America with the Philharmonic doing L’Atlantida, Bartók, and Rachmaninoff with Fima. And that was beautiful because we were in the right acoustics to work, to do it. And yes, it was a magical moment. I think that moment was kind of the moment that started the possibility for me to be music director there.