The whole show was recorded over two days at the London Palladium, with lighting and set rigging across the two days before that I believe. We loaded in audio on the morning of the first record day and made our deadline to be ready for soundcheck in just 4 hours which was a pretty mammoth task considering the high input count and monitoring requirements for the socially distanced orchestra and ensemble. We didn't have any off site rehearsals with the artists ahead of the record days. Each artist had approximately a 30 minute slot for their performance on stage with the orchestra, and then we were straight on to to the next one. Hat's off to our lighting colleagues who did a tremendous job - obviously many hours of pre programming ahead of the event and with nothing running to timecode some really skilful operating!
