Accompanying a solo as a conductor

When accompanying slow melodies with minimum accompaniment with long notes, I found that if you are always behind you will force the orchestra to listen and follow the soloist with their own ear. It also gives all the space and liberty that the soloist might need! In this excerpt from Weber’s Oberon Overture, you can see me in the first part being behind and then introduce a pulse to the rest of the orchestra when the violins come in. It one of my favorite moments of the piece. My guess is that is related with Titania.