Being a Music Director focused on the Broadway repertoire means first of all to merge the knowledge of musical theory, harmony, orchestration and conducting with the study and analysis of the entire repertoire of the Anglo-Saxon Musical Theatre since its origins, from the first “Ballad Opera” of the eighteenth century up to the current titles ready to win the next Tony Awards. It means loving sheets, spending time and passion reading them, falling in love with the hidden musical passages and the musical “signatures” of each composer, who can make your soul vibrate. A good music director senses those vibrations before every other patron, he observes and incorporate them to transmits those feelings during the re-creation of the music for which he spent months, if not years, studying. He “plays” the musicians and routes them into the global idea that he has built and that crafts like an architect with a huge scaffold. The music director feels, loves and rejoices before any other through his work of rewriting. At the time of the “green light” of a show the gesture of his baton keeps all the expressive force of a show suspended, waiting to begin. Upbeat. A breath.