A Quote by Dietrich Fischer-Dieskau

...in my lieder concerts, I always strove, when possible, to sing only the works of a single composer, so that the audience could be gradually drawn into a particular creative genius' way of thinking, and could follow him.
Which is why, in my lieder concerts, I always strove, when possible, to sing only the works of a single composer, so that the audience could be gradually drawn into a particular creative genius' way of thinking, and could follow him.
My character on 'Voyager,' because of the way he was presented, I could go either way. I could be a real buffoon, a windbag, be self-involved, and we could get a lot of comic mileage from him. However, the audience accepted me with gravity when I was in a dire situation, so they would follow me in comic or dramatic stories.
This power, this authority, Soviet power: they killed everybody who could make any resistance, who could explain his own way of thinking and who could follow his own way of thinking, of believing.
No, there isn't a particular type of genre that I'm drawn to. I'm more drawn to the possibility of creating different characters, or being able to go from one genre to the other and to show that I could do it, that I could be good at it.
My dad says I could sing before I could talk, if that's possible. I was always humming and things like that.
A single smile from her could make his entire being burn. One touch from her hand and he was undone. It was terrifying to think of how much power this one person had over him. How one single gesture from her could affect him so profoundly. (Sin thinking about Kat)
The scientist is also a composer... You could think of science as discovering one particular thing - a supernova or whatever. You could also think of it as discovering this whole new way of seeing the world.
It is only by demanding the impossible of the piano that you can obtain from it all that is possible. For the psychologist this means that imagination and desire are ahead of the possible reality. A deaf Beethoven created for the piano sounds never heard before and thus predetermined the development of the piano for several decades to come. The composer's creative spirit imposes on the piano rules to which it gradually conforms. That is the history of the instrument's development. I don't know of any case where the reverse occurred.
My pieces usually are programmed on concerts in which the other works are standard repertoire. My music always sounds very different when it's on a concert of all contemporary music. It always seems to stick out at an odd angle. This also makes me think of a question I sometimes debate with my friends: does the music of a composer directly reflect that composer's personality? This is a difficult one, but I think it usually does.
Creativity has nothing to do with any activity in particular - with painting, poetry, dancing, singing. It has nothing to do with anything in particular. Anything can be creative - you bring that quality to the activity. Activity itself is neither creative nor uncreative. You can paint in an uncreative way. You can sing in an uncreative way. You can clean the floor in a creative way. You can cook in a creative way. Creativity is the quality that you bring to the activity you are doing. It is an attitude, an inner approach - how you look at things.
I was thinking, I could turn him into a fly and drop him into a spider's web and watch him tangled and helpless and struggling, shut into the body of a dying buzzing fly; I could wish him dead until he died.I could fasten him to a tree and keep him there until he grew into the trunk and bark grew over his mouth. if he was under the ground I could walk over him stamping my feet.
I mean, it wasnt like I had said to myself beforehand, 'OK, I'm gonna go out there and sing 'The Star-Spangled Banner' in the weirdest way possible and cause a commotion.' I just sang it the way I felt it I sang it the only way I could.
I feel like I was always singing. Since I could speak, I could sing. It came very naturally. In school, I was always singing in choruses and choirs. I always loved to sing; it was something to fun to do.
I knew I could sing. That one thing I did believe in was that I could sing, but then constantly getting rejected, it started to get me down. But my voice was always there and my dream and my ambition was always there when I went through bad times.
Every single performance of 'Fleabag,' I would learn so much from the audience reaction or how you could change it all the time, and I loved that sense that the performance is ever-growing and changing and could be affected by the audience.
Pop concerts create an audience for Pops concerts, not an audience for classical symphonic concerts.
This site uses cookies to ensure you get the best experience. More info...
Got it!