A Quote by Andris Nelsons

I want to take the great tradition of the orchestra within me, to take what the orchestra offers. — © Andris Nelsons
I want to take the great tradition of the orchestra within me, to take what the orchestra offers.
In the restaurant business, as opposed to the theater, center orchestra is an 8 P. M. reservation. Orchestra on the side is 7 or 8:30. Mezzanine is 6 and 9. But people don't take it personally when they call the theater and can't get what they want.
My wife Elizabeth and I started The Really Terrible Orchestra for people like us who are pretty hopeless musicians who would like to play in an orchestra. It has been a great success. We give performances; we've become the most famous bad orchestra in the world.
My wife Elizabeth and I started The Really Terrible Orchestra for people like us who are pretty hopeless musicians who would like to play in an orchestra. It has been a great success. We give performances; weve become the most famous bad orchestra in the world.
And over the last ten years, after my work with the Brodsky Quartet, I had the opportunity to write arrangements for chamber group, chamber orchestra, jazz orchestra, symphony orchestra even.
I like this idea of identification with the local team. I think it's great. That's what an orchestra should be. It's an orchestra for its hometown, and it serves the people.
Music is such an important part of society, and the Boston Symphony Orchestra offers such great quality, and we just want to share it.
Let me say that I've never thought to conduct because the conductor has to think to the music before the orchestra. And the orchestra comes later. For me, it's terrible.
It can and will be a more powerful sound but the orchestra has far more potential for expressive power. When I hear a great rock band it can make me feel alive, but when I hear a great orchestra it can make me feel human.
There's nothing worse than working with an orchestra who looks down on working with a conductor who doesn't want to conduct for you. You need to be with an orchestra that can follow you and respect you.
The music lovers of London and the country deserve to have something where orchestras can flourish. You have no idea how wonderful an orchestra like the London Symphony Orchestra can sound in a great concert hall.
The musical training taught me to focus my mind, before playing in an orchestra taught me how to truly concentrate. If you miss your moment in an orchestra, there is no forgiving.
It might work with one orchestra, and the next orchestra - the oboe player might not get it. It's different every time, but some of the orchestras do end up enjoying it and having a great time.
The Beethoven Experience provided the opportunity to solidify the relationship between the Orchestra and me, the Orchestra and me and the public, between all of us and the city of New York, because Beethoven after all is a really amazing point of reference.
The game is if the orchestra can hear each other, they play better. If they play better and there's a tangible feeling between the orchestra and the audience, if they feel each other, the audience responds and the orchestra feels it.
There are two types of conductors. One is the good conductor who can do passionate music but also listen to the singers and do the orchestra. And then there are great conductors, who have their own opinion on the music, who are ruling everything - and not listening much to the singers, but the orchestra play amazingly.
The great myth is the manager as orchestra conductor. It's this idea of standing on a pedestal and you wave your baton and accounting comes in, and you wave it somewhere else and marketing chimes in with accounting, and they all sound very glorious. But management is more like orchestra conducting during rehearsals, when everything is going wrong.
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