0:41 What is your method for preparing for auditions? 5:20 Should a player adapt their playing for a specific group or hold on to their individuality? 7:05 Importance of throat tones? 9:15 How is playing in an Opera Orchestra is different from a Chamber or Symphony Orchestra? 12:01 On your website I saw your artwork, which is really beautifull. Would you say your art is inspired by you music or vise versa? 14:09 Do you think the MET Archive broadcasts are a good substitute for live performances? 19:10 What aspects of flute playing provide the most challenge when working orchestrally? 23:09 What is your most memorable moment at the Met so far? 24:20 Any unexpected repertoire that flute players should have a look at? 25:42 For a student, how would you advise to make the most of their time studying? 28:41 What do you think the post covid music world will look like? 29:52 What kind of flute do you have? 31:12 Can you tell us about your auditioning experience? 33:41 How would you compare your roil in a symphony versus in an opera orchestra? 34:58 What would you say are differences in your opinion in USA orchestras and European orchestras? 38:40 Could you talk about haw you stayed positive and believed in your self as a student? 41:34 Are there any operas that you haven't had the oppurtunity to play that you would like to? 43:59 Have have you spent your time during the pandemic? 45:36 Of all the operas that you have played so far at the Met, which one did you find the most enjoyable? 48:26 Are you allowed to read a book in the pit? If so, what have you read? 49:31 Who was been the easiest conductor to play with? 50:42 If you had one piece of advice to yourself as a student, what would it be? 51:23 What are you favourite warm-up exercises? 52:50 What do you look for in a player when you're on the audition panel? 54:47 Do you have any preference to silver, gold, platinum or wood flute? 56:22 What do you hope that the classical music industry will learn form the pandemic?

00:46 - How do you manage with playing in different countries and different time zones? 04:29 - With the difference in orchestral sound becoming a thing of the past, was there a difference when coming form playing with Andreas and Emmanuel in Berlin to Vienna? 12:36 - question from Michael Cox: What do you think is the flute's role in the orchestra? 15:12 - Which is your favorite opera to play in and why? 18:14 - Which conductors have you worked with who you feel really understand woodwind and what do they do that is special? 21:04 - Is it possible to share with us what is your routine when getting ready for a performance? How do you prepare yourself mentally or physically? 26:29 - I see you have an extensive library behind you. How much time do you devote to studying scores before rehearsals and performances? 28:54 - What were you doing at home when you could-not go out because of covid-19? 31:17 - Do you use any special breathing exercises or breathing techniques or exercises for concentration? 33:00 - What does it take to get a job in the Vienna Philharmonic? 35:29 - What flutists inspired you in you youth? 38:33- If you could go back in time and give yourself advice as a student, what would you say? 40:42 - Are there any specific thing that British players should be aware of for an Austrian audition? 43:06 - What are the differences in playing in an Opera Orchestra and Symphony Orchestra? 44:32 - How do you put across your own musical ideas while being true to what's on the page? 45:55 - Do you have any of your morning routine/morning or daily rituals (not a musical) 49:19 - What are the main things that delights you about the flute and things which frustrate you? 52:09 - How will the Vienna Philharmonic perform from September with covid-19? 55:02 - How do you think the player's personality influences the sounds and music itself? 58:24 - What about your recitals? Are there any upcoming dates which are declared? We hope to see you in Turkey.

1:01 Do you have usual or unusual exerсises particularly helpfull? 3:41 How do you interpret pieces and what is your method? 8:37 What flute do you play? 12:24 Can we are expecting future recording from you? 14:47 How do you come for UK and then USA? 19:16 Did you change your style of music when you moved to USA? 21:11 About recording projects 23:37 What was your audition like in the MET and Chicago? 29:05 Would you encourage your children to pursue a career in music? 32:24 Advise for young players 34:29 Moving from MET to Chicago 40:50 What advice would you give to yourself from today to the past? 49:10 What should one do when you understand the essence and meaning behind the music but you can't yet a convey it as a performer? Is it time musical study or reading?

0:36 What sort of warm-ups constitutes as your fundamental routine? 2:37 Could you tell us about your support of the young professionals projects? 6:40 Is there a distinct American style of flute playing and what are it's characteristics? 8:34 Does the acoustic of the wonderful Boston Symphony Hall affect the way the orchestra plays? 13:53 Since most of the concerts are cancelled in the USA, what have you been up to? 16:38 What can we all collectively do to proactively rebalance the gender inequality in the industry? 19:53 Do you dabble in Jazz flute? 21:30 Can you tell us a little bit abut your work outside of the orchestra? 24:47 How did you prepare for the audition for the BSO? 31:34 Are there any more issues that you have discussed with young professionals that didn't make it to your TED Talk? 39:07 With the Boston Symphony Chamber players do you have a different mentality or approach for a recording or live performance? 43:56 What personality traits are necessary to succeed in the classical music industry? 46:26 Do you need any personality traits in addition to the those already mentioned for a female musician? 48:46 Do you believe in the BSO's progressive identity and how can other orchestras follow it? 51:22 what positive attributes do you look for when you are on the audition panel? 54:19 Have you had any experience of being on the audition panel prior to auditioning to BSO? 55:30 Who has been your biggest musical inspiration and why? 57:40 If you started again, would you still chose the flute?

0:39 4:43 10:38 14:52 20:36 How usual is for an Orchestra to arrange pre audition? Now you send only one short video with two orchestral excepts as for pre audition. What are the things jury is looking for? 25:08 What is your opinion about breath in Midsummer and comparsion between audition and orchestral playing? 30:10 When and how did you start networking? The future seems a little concerning. What you recomendation for a performer? 36:30 40:19 46:04 52:30 58:50 What kind of flute do you have?

00:46 - What is the most efficient way to prepare for a concert program? 03:16 - How do you find the responsiveness from your Sankyo Flute? 06:52 - What advice would you give someone who is starting their musical career later in life? 16:18 - Was there a lot of cultural change between working with the LA Phil, Lyon Opera and BBC NOW? 21:45 - Do you ever play Jazz flute? 23:00 - Are there even harder bits than we find in usual flute excerpts? 26:15 - What is the most challenging piece you have come across recently? 28:21 - How have you stayed musically inspired during the quarantine? 32:25 - Do you play historical flutes? 35:03 - How long do you have to prepare to be ready for the first rehearsal in an orchestra? 39:34 - How do you chose where to insert the appoggiaturas in Bach's music? 42:45 - How do you stay in shape when you're practice times limited? 44:51 - What made you decide to come to the UK and study at the GSMD? 51:45 - What made you decide to move the LA and join the LA Phil?

01:09 - 08:35 - 11:56 - 14:35 - 17:00 - 21:59 - What are your favorite things/exercises when you practice? 25:29 - 36:16 - 43:30 - 45:07 -

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