They’ve just torn down the Bowl, and I was recently there for the first time. It’s 50 percent completed. There is a lot more stage space for us, which is good. It’s on schedule and people are going to love it.

As a person who works there, I was surprised that every fireworks show didn’t destroy the old shell. It’s basically asbestos and hanger wire [laughs] – this little paper mâche covering over some metallic structure that we were always pasting new technology into it, over it, on top of it. The venue itself is what’s historic – the magic of being outdoors in Southern California and the natural acoustics are wonderful. We kept the look of the shell. It will look a little bit more high tech.

It wasn’t even. Sections closer to the back, like percussion – their sound bounced very hard on the shell, and the violin section could barely hear themselves play. Now we’ve got a new sound design. That’s probably the real difference – that the Bowl now can incorporate more of the current technology, lighting and sound, and will finally have backstage facilities that we don’t have to apologize for.