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as an excuse to build new coal mines. he was speaking at a un climate change summit where delegates are seeking ways of reducing carbon dioxide emissions. now on bbc news, it's hardtalk. welcome to hardtalk. i'm stephen sackur. much of the world is now transitioning from locking down to living with covid—19, and that means that, in cities like london, cultural life is returning, performers are back on stage, audiences can gather to enjoy them. my guest today is the world—renowned hungarian conductor and composer, ivan fischer, known for his innovative style. it has been a tough c...

world—renowned hungarian conductor and composer ivan fischer, known for his innovative style. it has been a tough couple of years, so how easy is it to find the magic in music—making? ivan fischer, welcome to hardtalk. lovely to be here. it's great to have you here in london. let me ask you, how different has it been making music in the time of covid? covid had positive and negative effects on our life. the problem was that there is no audience and actually we make music for people. this is actually easy for musicians to forget. some musicians make music to impress other musician...

And you — it seems to me, you've done it in a very different way from the more traditional approach of the maestro conductor who imposes his will on an orchestra. that is not your approach, is it? you are more collaborative and, in a funny sort of way, you expect more from your musicians, because you don't just sort of treat them as tools to be used. i think there is a lot of creativity in people, and it's very unfortunate if they have a job playing in an orchestra and all they are asked to is to follow instructions. it limits their potential. and i always thought how wonderful it would be t...

In a sense, it fits with your career, because for pretty much a0 years, you've been leading, running the budapest festival orchestra and you, it seems to me, you've done it in a very different way from the more traditional approach of the maestro conductor who imposes his will on an orchestra. that is not your approach, is it? you are more collaborative and, in a funny sort of way, you expect more from your musicians, because you don't just sort of treat them as tools to be used. i think there is a lot of creativity in people, and it's very unfortunate if they have a job playing in an orchestr...

For classical music, is it something that the people who go to classical music are capable of taking on? or do you find some of your audience is actually resenting the tricks you play, the uncertainty, the unpredictability? i always experienced that they are so happy when something real happens in a concert. you know, it's people seem so conventional and adult and grown—up, but what we want to touch in people is the inner child, the inner child of everybody who loves to play. and there is an inner child in all grown ups. let me ask about your decision to become a conductor. we have this imag...