A Quote by Brian Stokes Mitchell

If anything, when I was young, I wanted to be an orchestra. — © Brian Stokes Mitchell
If anything, when I was young, I wanted to be an orchestra.
I went to this little performing arts school in downtown Phoenix. You had to dance or act, and everyone sang in choir. I started out playing the saxophone, but I always wanted to be in an orchestra. That was a dream as a kid, and there aren't a lot of saxophones in an orchestra.
I wanted to do 'Manzanar' because I'd never done anything like it before. The spoken word there is between a drama and an essay, and I'd never worked in concert with an orchestra.
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.
When I was young, I was being pushed, against my will, towards becoming a classical musician. I had music scholarships; I had to play the violin and do orchestra practice and that sort of stuff. That meant I didn't get to do any school plays. I desperately wanted to do that.
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.
I was full of fire when I was young. I wanted to attack anything.
I wanted to give my actor a break. I wanted to live and to learn English. I wanted to be anything, a cabdriver, a busboy, anything to keep me away from acting for a while.
conclude, what Thomas Mann really wanted was a limited physical relationship with beautiful young men: the opportunity to gaze at them, an occasional touch, a restrained kiss. That isn't a surrogate for what he'd like to have if he were somehow free from social constraints. It's what the young Platen wanted, it's what he wanted - and it's what his Aschenbach wants.
Every time I have gotten into anything, I have wanted to do it well. I've always been like that as a young boy, every time I've wanted to go on that pitch.
From a stupidly young age I was always involved in anything, whether it be a nativity play or little kids plays. Wherever it was, I was involved and I think it was because more than anything, I wanted to be the center of attention.
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.
I just wanted to make more of a lifestyle record instead of anything else. I wasn't trying to do anything mainstream or nothing like that. I wanted to speak on this time period where I was fed up with a couple things and I had an idea of what I wanted to do.
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.
When I was young in the business, I felt anything I wanted to buy personally and professionally was always too expensive.
I think from the very beginning with 'We Are Young,' there was never any question about where we wanted the song to go and what we wanted it to sound like. And we knew that we wanted it to be big, we wanted it to be booming over the speakers at an arena or something.
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