A Quote by James Levine
I think this orchestra's strengths involve drama and voice.
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Listen, involve, synergize at work. Then you will bury the old and create an entirely new winning culture which will unleash people's talents and create complementary teams where strengths are made productive and weakness are made irrelevant through the strengths of others.
I always maintain that playing in an orchestra intelligently is the best school for democracy. If you play a solo, the conductor and everybody in the orchestra follows you. Then, a few bars later, the main voice goes to another instrument, another group, and then you have to go back into the collective [sound]. The art of playing in an orchestra is being able to express yourself to the maximum but always in relation to something else that is going on.
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.
'Confederate,' in all of our minds, will be an alternative-history show. It's a science-fiction show. One of the strengths of science fiction is that it can show us how this history is still with us in a way no strictly realistic drama ever could, whether it were a historical drama or a contemporary drama.
I think every business should build on their strengths, and the strengths of Victoria are our clean, green agriculture; the strengths of Victoria are our strong education system.
I would think, of all the saxophones, the baritone would be the most logical instrument if anybody was adding a voice to the symphony orchestra.
Comedy is more difficult than drama. I think it's really difficult to make someone laugh because people have very different comedic sensibilities. In drama, you can get away with being a great actor and surrounded by great actors and having good writing. But in comedy you have to listen and you have to perform with a certain rhythm, because if you don't, it's like playing a wrong note in the orchestra and you can hear the off key and it will fall flat and you won't get that instant response.
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.
An effective executive builds on strengths - their own strengths, the strengths of superiors, colleagues, subordinates, and on the strength of the situation.
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.
I think one of my strengths is kind of knowing people and getting a good read and a feel for what that person's strengths might be.
Something like Deckard Cain is great; it doesn't ruin your voice. But games that involve violence or battle or mutating and stuff like that really does take a toll on your voice. And I've even had to start to go to a voice guru kind of guy to do exercises to try to save and get back some of what I lost.
People think comedians don't do drama. Comics are drama. And what is drama, as opposed to comedy? It's all the same to me.
Drama is hate. Drama is pushing your pain onto others. Drama is destruction. Some take pleasure in creating drama while others make excuses to stay stuck in drama. I choose not to step into a web of drama that I can't get out of.
To not sing with an orchestra, to not be able to communicate through my voice, which I've done all my life, and not to be able to phrase lyrics and give people that kind of joy, I think I would be totally devastated.
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.
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