These are observations I made when watching the video that I think I can use to improve my own performing.
My take-away: Ask someone who knows about such things to teach me how to walk onto the stage and present myself to the audience. Then practice doing so until it looks natural.
My take-away: Angle the euphonium a little more so the audience can see my face. (Note: This only applies to euphoniums with valves top. A model with valves front wouldn’t have this issue.)
My take-away: Stand downstage left-center. That exposes my face fully to the audience. When I need to coordinate a transition or entrance with the conductor, I can turn; from the perspective of the audience the turn itself will look like a form of engagement with the music. (This is another issue that only pertains to euphoniums with valves top.)
My take-away: Just as take-off is a risky moment in a flight, the beginning of a solo is a risky moment in a performance. I must take steps to ensure I’m mentally and emotionally centered before starting to play.
My take-away: Be aware of the characteristics of the venue. The band is playing in a fairly small church. The ceiling is high but the space is not large. There are many sound-reflecting surfaces. It’s easy to overblow in that sort of space.
My take-away: When I’m in the role of soloist, I need to remember that the audience will be looking at me most of the time, including during sections of the music when I’m not playing. I must remember to look at the band and show appreciation through facial expressions, but not to move around so much that it distracts the audience from the band. Bring the instrument up for my entrance in such a way that it looks/feels like a continuation of what the band has been doing, to connect the band and the soloist as one.
My take-away: Maintain emotional control and consistency when approaching the exciting climax of the piece.