Last Choir Standing

Jonathan Ansell: "Every conductor or musical director loves what they do. Occasionally they get a little bit too involved and sing a bit loud. They have a fantastic time from the front and think that no one can hear - and that's a bit frustrating sometimes. But what is fantastic is that energy that they relay to the choir and you can see that their energy, warmth and passion shows through into the choir which comes back out in the sound."

Mike Brewer: "I look for tension, aggression and insecurity - human weaknesses. It's very simple; if a conductor is relaxed and has a good relationship with the singers the performance will be as good as it can be, but if the conductor's ego gets in the way – which is manifested in tension, aggression or fear then that's a danger sign. You can see it in their back perfectly easily. As someone who teaches conducting the thing I focus on is posture and calmness of the conductor, channelled into energy and excitement when needed, but not tension."

Dominic Tighe: "I have a thing about choir masters who make a 'smile face'."

Zoe Salmon: "They're all so entertaining, they really are. They're so charismatic and they're just a little choir unto themselves really! They're standing about and singing and talking and waving their arms and shaking their bottom, they really get into it! I think you need someone with as much charisma, experience and knowledge as possible, as they're key to keeping it together."

John Partridge: "Personally, as an ex singer, I like to have animation in a musical director. It's no good if they're too laidback – although they all have different styles. I think it's about respect and connection with your choir ultimately. He's the pulse of what you're doing. When you're feeling a bit tired that's where you get your energy from."