"We felt honoured to be doing this series of Sinfonias with the New York Philharmonic, as it was exactly 40 years ago that Sinfonia was premiered by the New York Philharmonic and the Swingle Singers. We are not the Swingle Singers, of course, but most of our team were in the group at one time or another and, between us, have been performing Sinfonia for over 120 years - so we did feel a certain entitlement to the gig!

We'd had a singers' rehearsal provisionally scheduled for our first day in New York, but Maestro Maazel cancelled it when he learned that we'd performed the piece so many times before. Although we were delighted to have the free time, Maestro Maazel would certainly have benefited from such a meeting, but more on that later! Anyway, our first day in New York was a free one and we couldn't have asked for lovelier weather. It was extremely cold but bright and sunny - the ideal New York January day. Brooklyn Bridge or Central Park were the obvious choices, and we all headed out to enjoy the sunshine.

Micaela & Mandy on Brooklyn Bridge

Brooklyn Bridge

The Two Tenors

Central Park

The first rehearsal for Sinfonia always gives cause for concern as there are so many factors involved in the success of the piece. Fortunately, we were in Avery Fisher at the Lincoln Center which has a big stage for the huge orchestra, so there was no problem about space. In addition, we were very lucky to have the marvellous Lou Mannarino (who gets the Sinfonia sound prize of recent years) on the sound desk. He did a great job and was so helpful at all times. The orchestra too was a delight to work with. Mandy and I were in the viola section and had great fun chatting to the players, who couldn't have been more friendly and welcoming - really good players too.

Avery Fisher, Lincoln Center

I realise, at this point, that I should say how marvellous Lorin Maazel was, but I'm afraid we were bitterly disappointed. The truth is that he didn't know the piece well enough. The speeds were all over the place, he was dreadfully unclear, and seemed to have little idea what the piece was about. I know we would all have forgiven him if he'd just shown a bit more humility, not to say politeness. As it was, he barely spoke to any of us and gave us little or no opportunity to help him, which we could easily have done. I did manage to arrange a solo meeting with him because I was so concerned that the piece would fall apart, but it did feel like being in the headmaster's study about to be put on detention! The final straw was when he refused to be called "Lorin Maazel" at the end of the 3rd movement, where Berio specifically asks Tenor 1 to say "thank you Mr.* (* full name of conductor)" - he insisted that Gerry call him "Maestro". How come it was fine for Mr. Luciano Berio, Mr. Pierre Boulez, Mr. Simon Rattle, Mr. David Robertson et al.......? The orchestra did brilliantly in the circumstances but I have to say "Maestro" was very lucky that we knew the piece as well as we did!"

Micaela