Top 1200 Musical Performance Quotes & Sayings - Page 3

With NOAH, you can create some stunning, yet original soundscapes. Therefore, as a performance tool, it really comes into its own because you can make one single performance which has a lot of detail.

I really think that the 'Jersey Boys' musical - and this is just my opinion - lends itself to being cinematic in some way, because it's a jukebox musical; the characters break into song only for the scene transitions.

Most corporations have human-resources processes that involve discussions with your manager, performance evaluations, calibrations for performance and potential succession planning.

Congratulation s to my friends and all the team of famous the Dance of the Vampires! As the Chagal of the German production, I'm so proud of you. The performance of Le Bal des Vampires - Le Musical was amazing and well done. Also bravo to director Roman Pola?ski. A huge success of the most successful and powerful director in the world. Great to be in the family of Chagal's of #? TdV 's!

I can destroy a dance floor. I think life should be a musical. I always hate it when people watch a musical and they go, 'Oh, it's so unrealistic, no one just breaks into song in the middle of their day.' Yeah, they do- if they're me.

I really believe musical form will go on. There's got to be a way of making musical form in cinema live again.

For the score of 'Black Panther,' the heart and soul came from immersing myself in the rich musical history of the griots in West Africa. I was following these brilliant musicians all over rural Senegal, learning their musical language.

We all get to choose where we set up the stage of our lives - before the Crowds, the Court, the Congregation, the Critics (inner or otherwise)-- or the Cross of Christ. All except One will assess your performance. Only One will accept you before your performance ... Only in Jesus is there 100% acceptance before even 1% performance.

In some of the greatest recordings ever made, the performance is a part of the recording. Dylan's 'Rainy Day Women No. 12 and 35' is all about the esthetic of that performance. You can hear the room.

I love showing up and giving a performance without the benefit of a lot of rehearsal or dissection. It's fun to me to act on a kind of instinctual level and go straight for the performance.

I was Danny Zuko in 'Grease,' and I was in the musical 'Sweet Charity' and then in the musical 'On the Twentieth Century.' They were great. I mean, singing isn't really my strong suit, but I just really enjoyed it.

I'll do a musical. An ass-kickin' musical!

The virtuosos look to the students of the world to do their share in the education of the great musical public. Do not waste your time with music that is trite or ignoble. Life is too short to spend it wandering in the barren Saharas of musical trash.

I am very musical. Am I a great singer? No. But I'm extremely musical.

Probably my two biggest musical influences were the Everly Brothers and the Beatles, in chronological order. Both of them have had a very simple-sounding musical style that's actually quite complex as far as popular songs are concerned.

'Cabaret' was one of the first pieces of musical theater I saw that showed the possibilities of what musical theater can do.

I came from the musical stage. My first show was '110 In The Shade.' I started as a ballet dancer and then sort of gravitated toward musical theater, so any time I got asked to sing or dance, it was a joy for me.

The performance of Carnatic music is multi-dimensional and layered. A performance is at once an artiste's cathartic process of personal exploration and an open energy exchange with the audience: a release and a conversation.

I just try to touch people's hearts in a way through skating, so they're not just witnessing a performance, they're feeling a performance and they're a part of it.

In the theater you rehearse in order to do the performance. And in the movies the rehearsal and the performance are kind of the same thing. You're figuring it out and hopefully the camera is pointed at you when you're doing it.

I was so busy with my studies that I didn't have a musical idol as a teenager. Later, around my 20s, I suddenly discovered the Beatles and the Rolling Stones but I guess my musical idol has always been Strauss.

Any musical form that has been around long enough to have cultural resonance beyond just being a cutting edge kind of communication - but, especially, when it begins to reflect on a time and reflect on a culture - is effective in a musical.

I would not rule out a musical. What I will categorically say is that I will not be in a 'Peaky Blinders' musical.

People keep referring to 'Sing Street' as a musical, but I really never felt it was that. I can't really define it as a musical.

I'd love to do a modern-day musical that's full of original music. To get your contemporaries to sing and dance without looking foolish and for it to be transformational and magical and all those things a musical is supposed to be.

Musical theatre goes through cycles. I came in when it was at the absolute height of musical theatre as I remember it. It was the age of the long-runners.

In college, I actually majored in Musical Theater. I was pursuing a BFA in Musical Theater.

The reality is that people need to be coaxed toward a musical. They need to understand why it's a musical.

I want to do a musical so bad. I don't care what it is. I'm not picky. I just want to do a musical. I'm shameless, but it's true.

It's always weird when it comes to awards and awards season because how can you say that this performance is better than this performance? Art is so subjective.

I really think that the Jersey Boys musical - and this is just my opinion - lends itself to being cinematic in some way, because its a jukebox musical; the characters break into song only for the scene transitions.

My interest in time emerged out of an engagement with the media that I was working with. Film and performance are temporal media. They rely on time. When I'm carrying out a performance, it matters, for example, how long I hold one particular gesture or posture. Seriality is very important too. Performance can be used to dilate time or to repeat time. And video, in turn, has its own time.

Early in my career, I had difficulty breathing during workouts and my performance on the ice suffered. It wasn't until I was diagnosed with EIB and received the proper treatment that I was able to reach my peak performance.

I made my performance debut in New York City downtown on the Lower East Side in college doing awkward performance art as a go-go dancer at Lady Starlight's Party. And I never thought that my love for mediocre performance art and bad mime would ever come to use in my career as an actor. But my fantasies came true and I got to play Maureen in Rent.

I never imagined that Hamilton would be turned into a musical, much less a hip-hop musical. I think I can safely say that that's the last thing I would have expected.

I started using film as part of live theatre performance - what used to be called performance art - and I became intrigued by film.

I'm not a poet. I'm not up onstage to get something off my chest. I'm making musical statements, or, most of the time, musical questions for people to figure out, and I'm not going to get in the way of that.

We incorporate various electronic devices - the echo plugs and things like that. Actually, all we're trying to do is make that sound musical. As opposed to just making sounds, we do musical things with them.

There's been lots of theater that uses hip-hop in it, but more often than not, it's used as a joke - isn't it hilarious that these characters are rapping. I treat it as a musical form, and a musical form that allows you to pack in a ton of lyric.

The artist must yield himself to his own inspiration... I should compose with utter confidence a subject that set my musical blood going, even though it were condemned by all other artists as anti-musical.

Every disease is a musical problem; every cure is a musical solution.

Fred Sturm has proven to be a great asset to the musical world as a teacher, composer and author. His gifts have enriched the musical life of all the people who have been fortunate enough to share his wisdom and musicality.

I know the focus on my performance or the team's performance is on the pitch. We've got to do what we have to do on the pitch. What comes with it off, it doesn't bother me too much.

The main thing a poem ought to be is musical. It should be rhythmic. You should hear it as a musical piece in your head as you're writing it.

I always wanted to do musical theater. That was where I saw my life going since I was a musical theater major in college before I went to Pentatonix.

Jazz vision for me is seeing my art in musical term. It offers me an visual expressions in an ever-changing musical palette.

I fell in love with the process of taking pictures, with wandering around finding things. To me it feels like a kind of performance. The picture is a document of that performance.

If you're going to be hosting any event or a performance or having dinner with people after a performance, it is work, but it's also social: food and a glass of wine would be involved often.

It was a huge deal, a huge musical discovery that became life lessons learned. You can't return from having an experience like that. The Blind Boys are truly the deepest well of American musical heritage you can discover.

The community of mathematicians is similar to an imaginary community of musical composers whose only satisfaction is obtained by the interchange among themselves of the musical scores they compose.

I'm interested in really particular details, ideas, thoughts, and emotions, yet it's defused with performance, where you can play with hiding things, or be more confrontational about something shielded. There is this process of layering in performance.

Certainly one of the more common experiences in the jazz field is discovering someone new. Improvising musicians are capable of being musical travelers, voyagers. We want to join in on whatever we hear. There is a freedom to wander the musical landscape.

Adam Berenson knows how to compose, organize an ensemble, do musical research, play solo and trio piano, write for musical journals, and enlist others to his cause. A very fine musician.

If you develop an ear for sounds that are musical it is like developing an ego. You begin to refuse sounds that are not musical and that way cut yourself off from a good deal of experience.

It's quite different to do a vocal performance, opposed to a performance where you are seen, because in some ways, you don't need to worry about what you look like - you don't have to sit in a makeup chair for a long time!

What is jazz? It, It's almost like asking, What is French? Jazz is a musical language. It's a musical dialect that actually embodies the spirit of America.

This idea that my work is about hip-hop is a little reductive. What I'm interested in is the performance of masculinity, the performance of ethnicity, and how they intermingle across cultures.

It's interesting how some songs really lend themselves to performance in a big public venue and performance by a band and so on, and so they're even more successful in that context than they were on the record.

In 1969, I wrote a musical called 'Mother Earth.' It was a rock musical with an ecology theme. We did it at the South Coast Repertory Theatre in Southern California where I was a member. It was a smash hit in this small theater.

'Evita' was four pieces of slick paper and a record album. It's the most scary, to sit down and dictate a musical scene by scene. It was a musical unlike anything I'd ever seen before myself.