Top 1200 Musical Quotes & Sayings - Page 20
Explore popular Musical quotes.
Last updated on September 19, 2024.
The musicals on Broadway have not necessarily been true musical theater. I'm speaking generally, of course: I saw 'Spring Awakening,' and I was completely inspired by that.
Age enlarges and enriches the powers of some musical instruments - notably those of the violin - but it seems to set a piano's teeth on edge.
To my mind and ear, there is simply nothing that compares to the musical sophistication of a late Beethoven, Bartok, Schubert or Brahms work for minimal forces.
My musical education started in the limelight, because I found myself surrounded by real musicians, but after my career had taken off.
We live with incessant music, all the time. It's like some weird musical purgatory, there is absolutely no rest for the ears, no space to absorb and reflect.
I still will sit down at the piano and play when I am wrestling with something emotionally or just want to move into the musical world.
For most of the projects I've worked on, I've been entrusted with some degree of musical responsibility, even if it's just like coaching for vocals and stuff.
My interested in Brazilian music stemmed from wanting to find a musical identity other than the salsa and meringue that I was inundated with in Venezuela as a child.
My musical sensibilities were formed around punk rock, that quintessential dilution of an art that's both ugly and lovely at the same time.
It's not every day you get to create a band like the Sex Pistols, and what it changed, on a musical level. I love that we've done something that was important.
I had an Arabic background. but I lived a very scattered childhood. I didn't belong to any one culture, which meant I didn't have musical geographies in my head.
I conclude that the musical notes and rhythms were first acquired by the male or female progenitors of mankind for the sake of charming the opposite sex.
'Wicked' has been one of the biggest hits in Los Angeles theatre history, and we are thrilled that theatergoers here have embraced the musical and welcomed us so heartily.
When we began Daft Punk, by the albums we made, by the interviews we did and by every opportunity we had we tried to break all the boundaries between musical genres.
It's interesting - years ago, I had such bad stage fright during musical theater auditions that I just gave up. And now I'm on Broadway.
We really were a very musical family. Father managed to buy us a small pump organ, and I just loved this instrument.
Free improvisation, in addition to being a highly skilled musical craft, is open to use by almost anyone - beginners, children, and non-musicians.
One of the interesting things about having little musical knowledge is that you generate surprising results sometimes; you move to places you wouldn't if you knew better.
The musical style and sound of 'Love You to Death' is something I wanted to do from the moment I started working on this album. It's a very masculine track with dramatic lyrics.
In the 1960s and into the '70s, everyone in their own way was trying to open up the musical horizon. There shouldn't be a wall that you're going toward and bouncing off.
You'd find out more truth by just walking down the street with a musical instrument than by looking at any of the news outlets.
I'm grateful to be working. The most exciting thing for me is that I never get bored - I've done comedy, drama, musical theatre and now Shakespeare.
Got a degree in acting and actually double majored in musical theatre. And then I came straight to New York and started working.
What a thrill it was to play opposite Maurice Evans in this brilliant, dazzling musical, based on the life of two of the greatest personalities in stage history.
I had an edge in 'Andhadhun' because, being a musician, I knew how to play a guitar, so it was not difficult for me to learn a musical instrument.
We have a great musical sequence in episode five of 'Smash' called 'Let's Be Bad,' and it probably is the closest to 'Chicago' that I think any of us have ever experienced.
Although my other ambition was to be a musical theater star (and I would attend college on a voice scholarship), writing was never far from my mind.
I'm in control of my musical career, which means more than awards and record sales. And that freedom is exactly what my dad fought for, too.
The reason I keep making so many musical metaphors with 'Luke Cage' is that I don't view it as much a television show as I do a concept album with dialogue.
If one sits down and concentrates on imagining the worst possible surroundings for rehearsing a musical show, it's never as bad as the rehearsal rooms one actually lands in.
During the fourth year of college, I heard about auditions for a musical for which I got chosen. There after, I continued acting in plays and improved.
I don't come from a musical family and didn't go to Julliard or anything, but I had this kind of vision of stuff that was so powerful that I just needed to find it. I have no regrets.
Andy Gullahorn is my favorite new musical discovery of the past five years. He's a brilliant writer, a fine musician and a generous spirit.
All of the musical projects that I am involved with are near and dear to my heart and allow me in a small way to make a contribution to the world of music.
But you know, I'm not 25 anymore, and I have always said musical theater in particular is a young person's game. It requires energy, mentally and physically, to do it.
If you are in a play, and you catch a cold, you are able to muddle through. If you are carrying a musical, it's a different thing altogether. It's the great fear of any singer's life.
I was born in Illinois, but I call Beaver Dam my home town. That's where I graduated from high school and started what I thought was going to be a musical career.
I majored in musical theatre performance at college, then went through years of waiting tables and temping while looking for acting work.
I'm constantly discovering things. Like Bobby Bland. Right now I suppose I'm into the Eighties, which turned out to be a great musical period.
No one should be allowed to make music as if he were made of wood. One must reproduce the musical text exactly, but not play like a stone.
I remember seeing the first Astaire-Rogers musical on television, and I couldn't believe how beautiful it was. It dawned on me that you don't have to wear a cowboy hat to be a man.
Whether a film is breaking into song and dance or if it's something like 'Whiplash,' I find it incredibly rewarding, and I'm drawn to those stories with a musical component.
I love form, but I'm not interested in forms. I've never written a sonnet or villanelle or sestina or any of that. For me, it's a kind of line. It's a rhythm. It's something musical.
I grew up doing certain little things in the musical theatre realm, but I didn't really understand that you could... make a career out of it.
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.
It was tough. We went right from being teenagers to musical superstars with money and fame and attention. All of us had a hard time adjusting to it, especially me.
I listen to terrible music when exercising. I mean, like, early Madonna, Boney M, the Fratellis, Shakira... I can't claim interesting musical taste.
Dub music is like a long echo delay, looping through time...turning the rational musical order into an ocean of sensation.
Negro music and culture are intrinsically improvisational, existential. Nothing is sacred. After a decade, a musical idea, no matter how innovative, is threatened.
I did a long concert tour in England and Denmark and Sweden, and I also sang for the Soviet people, one of the finest musical audiences in the world.
When I write songs, I'm just writing stories, and being in musical theatre taught me how to act them out through singing.
Ive always been really artistic. I went to an all-girls private Catholic school, and one of their biggest things was musical theater. I became obsessed with that.
A lot of singers find a musical genre people like and stick with it. That's being a conformist. I sing ballads, rock, salsa, rap.
Clearly, the pleasures wines afford are transitory - but so are those of the ballet, or of a musical performance. Wine is inspiring and adds greatly to the joy of living.
I didn't start auditioning until my 10th birthday when I auditioned for 'Matilda' The Musical in London! It was actually the first time I realized that it was a career I could pursue.
And when I met Cecil Taylor it was a complete transformation of musical identities. All the tenets that I had grown up with were thrown out the window.
I grew up listening pretty much just to pop music. But the older I've gotten, the more varied my musical tastes have become.
I'm not like my siblings, who are musical but can turn their hands to other professions! I'd always wanted to be involved in music - I'm a great believer in doing things that fulfil you.
Most people my age, their musical life ended in the '80s. They stick with what they know. But my tastes are much broader. And I don't want to stop learning.
I thought I was going to be in musical theater all the way, from beginning to end, and then it started not to feel right after my first year at conservatory.
