He stresses it's not a rule book. "Anyone who coughs has a reason," he says - a cough is an involuntary reflex that can't be easily suppressed or controlled. Instead he is setting out to help the afflicted manage their coughs "with understanding and humour".
He splits his tips into three parts - location, timing and volume.
1 - Where? If you're really sick, says Professor Lamprecht, give up your ticket, stay home, and don't spread your germs. If you must go, and you know there's a good chance you'll cough, try moving to a seat where you'll disturb fewer people. Ask someone at the very back if they'd like to swap for your seat further forward (I suspect this one works better in Essen than the Royal Festival Hall). If you get caught out by a surprise coughing fit, either try to change places or just leave.
2 - When? If you can't suppress a cough until the end of the show, then at least wait for a round of applause . The next best choice is during a very loud passage - discreetly. It's essential to avoid coughing between two sections of a work. "If there's no applause, it's not a break!" Professor Lamprecht reminds us - something you'd never guess in London, where entire audiences hack away between movements with impunity, whether they're ill or not. The other time to avoid coughing is during very quiet passages.
3 - How loud? If you really must cough, the quieter the better. A big handkerchief held in front of the mouth helps to dampen the sound. If you don't have one, cough into your elbow. It muffles the volume and has the added advantage that you won't pass on germs when shaking hands.
Finally, he has a tip for the coughers' victims. Don't hiss and don't protest loudly, he says - it only creates more of a disturbance.
This is the statue of soprano Rosa Ponselle on the facade of the I Miller Building in Times Square, where she was chosen to represent opera alongside her fellow stars of stage, screen and musical comedy. After a recent spruce-up, she's looking almost as good as she did on the day she ascended her pedestal in 1928. Read the full story on ScoutingNY.com.
Blood samples taken after a performance showed that the first violinists and the conductor had higher stress indicator levels than all the other musicians put together.
The musicians' ability to do their job (including health and work situation) had no influence on the results. But a good mood did. The sunnier they felt before the concert, the lower the rise in stress.
So the message to musicians is - cheer up, or switch to flute.