A Quote by Anna Netrebko

I prefer it when the conductor follows me. It is more difficult to work with a conductor who does not listen - even if I understand that sometimes it makes sense when one person is ruling everything. But for bel canto, I have to have a conductor who listens and supports me.
The most important thing for the conductor is that he or she listens. Her listening will make things sound a certain way. If the conductor listens well, the musicians listen each other better. The conductor can in effect impose a certain kind of listening for everybody.
What appeals to me about an American music directorship is the involvement of the conductor with the orchestra and the community. I think that's a fantastic thing. In Europe, being principal conductor means merely that you're the person who does most of the concerts. For me, that simply isn't enough.
It's different for people who have not seen a symphony conductor conduct from a chair. I feel very connected to the orchestra in a way that a conductor sometimes does not feel. I think it's more visceral.
The orchestra confides in me about their music director or their conductor, and I've never seen a conductor that's been liked by everyone.
A man gets on a train with his little boy, and gives the conductor only one ticket. 'How old's your kid?' the conductor says, and the father says, 'He's four years old.' 'He looks at least twelve to me,' says the conductor. And the father says, 'Can I help it if he worries?
Being a director or a conductor is a balance of many things. And to do it right is a very difficult tightrope to walk. I've come to the conclusion that there's really no way to be one hundred percent popular as conductor.
A lot of people think the orchestra is playing and the conductor doesn't do very much, but the conductor's the person that gives shape to the music, gets the phrasing, and if he has really fine musicians in solo spots, the question is does he try to help them phrase, or does he let them go?
I think it's a very important collaboration between the conductor and the orchestra - especially when the conductor is one more member of the orchestra in the way that you are leading, but also respecting, feeling and building the same way for all the players to understand the music.
A good conductor ought to be a good chauffeur; the qualities that make the one also make the other. They are concentration, an incessant control of attention, and presence of mind; the conductor only has to add a little sense of music.
You know as I started as a shy young conductor, I always wanted to cooperate. To build up the musicians. To help them to be better than without a conductor. And sometimes young talented musicians have to be encouraged.
I urge pupils when studying a work and in order to master its most important aspic, the rhythmic structure, or the ordering of the time process, to do just what a conductor does with the score: to place music on the desk and to conduct the work from beginning to end as if it were played by someone else, an imaginary pianist with the conductor trying to impress him with his will, his tempo first of all, plus all the details of his performance.
I'm a little less hungry as an actor than I used to be. When you're a director, you're the conductor of the orchestra, and when you're an actor, you're playing the violin. There's a thrill to each of them, but as the conductor, you get the fuller sound.
Normally classical music is set up so you have professionals on a stage and a bunch of audience - it's us versus them. You spend your entire time as an audience member looking at the back of the conductor so you're already aware of a certain kind of hierarchy when you are there: there are people who can do it, who are on stage, and you aren't on stage so you can't do it. There's also a conductor who is telling the people who are onstage exactly what to do and when to do it and so you know that person is more important than the people on stage.
Before Liszt, a conductor was someone who just facilitated the performance, who would keep people together or beat the time, indicate the entries. After Liszt, that was no longer the case; a conductor was someone who shaped the music in an intense musical way, who played the orchestra as an instrument.
Perhaps the chief requirement of [the conductor] is that he be humble before the composer; that he never interpose himself between the music and the audience; that all his efforts, however strenuous or glamorous, be made in the service of the composer's meaning - the music itself, which, after all, is the whole reason for the conductor's existence.
For me, the conductor is a person who interprets along with me, and we interpret things together.
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