“Arriving at the ranch, I wasn’t sure what to expect. I have worked with Giorgia in the past — without horses — and was excited to see what new process she would take me through to help me open up and specifically tackle the stresses of performance. Since I had worked with her before, and I had a competition coming up, she agreed to “fast-track” our first session.

We started the main paddock inside which there were at least 7 rescued horses. Each large in stature and presence. We entered, and Giorgia led me through a series of challenges designed to focus on projecting your energy. Once they (the horses) accept you as a non-threat, they show what they feel remarkably well.

I could already sense the path Giorgia was leading me down; helping me refocus nervous energy and direct it in a productive way towards calmness and a sense of security.

Then, we walked by a one-horse-pen with my clarinet, and Giorgia asked me to play. We gradually made our way closer to where the horse was. The second she heard the instrument, you could tell that she was interested. Giorgia first had me start with some improv and at her signal, I switched to some prepared music that I had somewhat memorized. As we approached, and after I had switched to my prepared music, which admittedly I didn’t have all memorized, the horse apparently lost interest and turned to walk away (min. 1.14 in the video).

Giorgia coached me through it, and I switched again, this time to music that I was more comfortable with, where the music flowed much more organically. The horse then stopped in her tracks, turned and immediately came right up to the clarinet and placed her head as close as she could to the instrument.

Seeing this physical response after releasing all of the preparedness and perfection of the notes and focusing purely on the music was truly a shift of thought in my part. I have always practiced getting in the zone when preparing for stressful performance experiences, but visually seeing the horse’s reflection of the mood that I portrayed is something unique and unlike any other performance practice experience.

Taking this on stage with me is an interesting process. The comfort I have when I improvise is now easier to access, knowing the effect it had during my session  with the horses

Taking this on stage with me is an interesting process. The comfort I have when I improvise is now easier to access, knowing the effect it had during my session  with the horses”.

— Professional Clarinetist, San Francisco, CA

A few months ago I was suggested to read Habits of a Happy Brain, by Loretta G. Breuning, PhD, founder of the Inner Mammal Institute.

I found it immensely interesting to learn about our brain’s evolution, with a focus on the hormones that drive our desires, happy feelings, sense of threat and more.

I asked Loretta for an interview, so that we could zoom in on what happens to performing artists’ brains and bodies when they are in the spotlight. Also, I was curious as to why some performers feel energized by being on stage, while others feel threatened. And who has the power anyway, in the spotlight — our brain, our body or our emotional self?

Turns out, that the conventional wisdom of our brain as a super-hero, capable of walking our emotions on a leash any time is not true at all.  In reality, all the influence our brain has in threatening situations is the power to shout “Time Out!”. Also, it turns out that our general reaction to the spotlight does not depend on our genetics, but on experience — the neural pathways shaped in childhood and solidified ever since. Stage fright is a learned reaction, and with proper re-wiring of your neural pathways, you can replace it with a more constructive one. All you need is commitment.

Enjoy deepening this and more in Loretta’s interview!

Giorgia Ghizzoni
The Creative Way Around

About a year ago, as part of our Artist Development work, my colleague Kiki Ylimutka and I started digging into the questions:

• How have careers shifted inside the classical music industry?
• How are they structured nowadays?
• What should young musicians in training know, before going out there as professionals?

What we have seen in our clients for quite a while is that professional musicians today don’t just get a job in an orchestra and then relax. Quite the contrary: even members of the most prestigious orchestras are active on multiple fronts — chamber, teaching, jury, creative/interdisciplinary projects, accompanying, masterclasses, etc. — which in turn generate multiple streams of income.

Kiki and I decided to interview cellist Umberto Clerici, because his career is exemplary as far as the new paradigm is concerned. He tours as a soloist, he is a faculty member at the Sydney Conservatorium, he is principal cellist at the Sydney Symphony Orchestra, he is involved as a performer and as an artistic director in several chamber and interdisciplinary projects, and the list goes on.

Here’s to M°Clerici’s heartfelt sharing of the challenges he’s measured himself against throughout his life in music, and to the wisdom he shared with us, to pass on to current and new generations of professional classical musicians.