A Quote by Juan Diego Florez
In Peru, there is no theatre that produces an annual opera season, and though there is one orchestra in Lima, it's always struggling to survive. We shouldn't have just one orchestra, we should have 15, we should have 50! And you should start to build this from the children.
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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 am very much about promoting Lima because I think Peru and the mountains and the Incas, everybody is aware of those, but Lima is something that people should discover - especially our food.
I would want us to start our quest to survive mass extinction by rethinking how we build cities. Cities should be commonplaces of production, rather than consumption - they should be producing food, and fuel.
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.
During the season, your team should be led with exuberance and excitement. You should live the journey. You should live it right. You should live it together. You should live it shared. You should try to make one another better. You should get on one another if somebody's not doing their part. You should hug one another when they are. You should be disappointed in a loss and exhilarated in a win. It's all about the journey.
I was playing in the Metropolitan Opera Orchestra as principal horn. I was there for some 15 years - one of the most exciting and great musical periods in my life.
I never thought the orchestra should be big.
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 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.
No, I don't know how to get young people to start listening to jazz again. But I do know this: Any symphony orchestra that thinks it can appeal to under-30 listeners by suggesting that they 'should' like Schubert and Stravinsky has already lost the battle.
I hope always to be busy, even if only directing an orchestra in the pit. However, I should prefer to produce movies or be the directing head of a radio corporation.
I thought there couldn't be a better backdrop for some kind of powerful music than a big orchestra. My wish to hear how a guitar would sound in front of an orchestra has always been there.
Theatre is a form of knowledge; it should and can also be a means of transforming society. Theatre can help us build our future, rather than just waiting for it.
I worry about being a fogy and just writing for orchestras. Like, really, I should be doing more electronic stuff, I feel. Laptops as part of the orchestra, and installation sound, and speakers.
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.
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