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It's all about the music, dude! Sit down, relax and listen to some tunes.

Pretty much yes

>> Kind of a follow-up to our discussion as to what concerto is played when she appears in concert with various orchestras. There's a discussion on Google Groups (RMCR) about her new Ravel release (which I still haven't heard yet), and someone posted a couple of questions: Given her importance to DG on the sales and money-making side of things, does she get to call the shots as to what orchestra she appears with on her recordings?


The three concerto CDs she has recorded so far were kind of borne out of mutual desire between her and the three conductors to record together. The orchestras came part and parcel with each conductor. So I guess it's best to say they all chose each other.


>> and does she also call the shots on the engineering decisions, such as the basic balance between the piano and orchestra. Are you privy to any of this?


She is not an audiophile. But she does have last say on edits. She is not hands on in the actual engineering of the recording or post production. At the recording of the Rach/Prok CD she hardly ever put the cans on to even listen. In fact I don't remember her doing that at all. Total focus was on performance. She let The producer and recording engineer do their thing. DG sends her post production works in progress to listen to and she gives them notes. She has final approval on everything.



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