A Quote by Neeme Jarvi

I have had much pleasure in working with Orphei Drängar during my time as chief conductor of the Gothenburg Symphony Orchestra, and I consider OD to be one of the most brilliant men´s choirs in the world. The singers are highly professional and their repertoire is of a very wide range, but then they have been trained for years by Eric Ericson, the world´s leading choir conductor. I also admire the strength and the beauty of their voices. OD is an extraordinary powerful choir!
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.
I admire Tom Ades: he's a brilliant conductor, and he gets just the right hard, brilliant sound from the City of Birmingham Symphony Orchestra for Russian music.
There are two types of conductors. One is the good conductor who can do passionate music but also listen to the singers and do the orchestra. And then there are great conductors, who have their own opinion on the music, who are ruling everything - and not listening much to the singers, but the orchestra play amazingly.
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.
And at the same time, I had my very first concert at the age of 16. I hadn't heard a symphony orchestra before, and I was so deeply impressed I said I have to be a conductor.
Kurt Cobain OD'd on heroin before committing suicide, but he also OD'd on fame. Cobain was like Basquiat: They both wanted to be famous, and were brilliant enough to make it happen. But then what? Drug addicts kill themselves trying to get that feeling they got from their first high, looking for an experience they'll never get again. In his suicide note, Cobain asked himself, "Why don't you just enjoy it?" and then answered, "I don't know!" It's amazing how much of a mindfuck success can be.
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.
The symphony orchestra had played poorly, so the conductor was in a bad mood. That night he beat his wife--because the music hadn't been beautiful enough.
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?
The director is a bit analogous to the conductor of a symphony orchestra. It's a collaborative adventure.
But a large symphony orchestra basically is a repertory company and it has a very enormous repertoire and it is important for the performers to be able to know how to shift focus so that they instantly become part of the sound world that a particular repertoire demands.
Have you seen a symphony orchestra? There is a person at the back carrying a triangle. Now and again the conductor will point to him or her and that person will play "ting." That might seem so insignificant, but in the conception of the composer something irreplaceable would be lost to the total beauty of the symphony if that "ting" did not happen.
I started out in a professional choir at 13 years old. We traveled to different places, and I had a close relationship with the leaders of our choir. We were recording when I was 15, so it wasn't like I had to wait until 25 to find out certain things.
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.
There's nothing worse than working with an orchestra who looks down on working with a conductor who doesn't want to conduct for you. You need to be with an orchestra that can follow you and respect you.
And I've teamed up with a choir from home. They're called the Gori Women's Choir. They're a 23-piece all-female choir, and they've been going since the '70s.
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