Quotes About Conservatory

I was 16 when I got a scholarship to study classical composition at a conservatory. By that time I had already listened to Scottish folksong with my mother, sung in church choirs, and had sung solo with Benjamin Britten conducting.

They passed through the billiard-room, where the Colonel was making a sensational break, and into the small conservatory which led from it. Lord

I worked in theater my whole life. My mom was a drama teacher at my middle school. In high school, I was Drama Club President every year, and then I auditioned for conservatory acting programs.

I got private lessons in keyboard at Julliard, before New England Conservatory of Music in Boston.

I went to the Conservatory of Music in school in Rome.

Then the house had been boldly planned with a ball-room, so that, instead of squeezing through a narrow passage to get to it (as at the Chiverses') one marched solemnly down a vista of enfiladed drawing-rooms (the sea-green, the crimson and the bouton d'or), seeing from afar the many-candled lustres reflected in the polished parquetry, and beyond that the depths of a conservatory where camellias and tree-ferns arched their costly foliage over seats of black and gold bamboo.

I love classical music. Yes, I was in a conservatory when I was younger and played guitar and all that stuff, so I also love rock.

My mom is an avid musical theatergoer. My dad would always get a subscription to the Syracuse Stage. I was always exposed to theater. So I went to a theater conservatory at Boston University.

One major study observed that in recent years, we have done a magnificent job of turning out fabulously trained performers with no place to play. More encouraging news is that employment options and a real strategy for developing the arts are becoming part of many conservatory curricula.

My conservatory is in the streets. My intelligence is instinct.

In pop music, people take a stand. When you look at a Beyonce or a Kendrick Lamar, they are going to tell you what they think. And audiences totally get it. They totally love it, and they are totally hungry for it. But in our conservatory training, I think it's a little lacking.

I learned my profession onstage. I didn't have a musical background. I had no conservatory training. I don't play an instrument.

I majored in drama and theater arts at Columbia and was always in acting studio, but that was a liberal arts degree, not a bachelor of arts degree, so I didn't have a traditional conservatory training. There was a lot of reading and a lot of writing involved, and only about 30 percent of my classes were directly theater-related.

When I went into the conservatory at 17, then I was able to open up and accept everything about myself and show my feminine side as well as my masculine.

When I was a young musician, the only option available to pursue secondary education in music was to attend a classical conservatory.

I was actually going to go to a conservatory after I graduated college, now I'm thankful that Pentatonix happened because I'm working with singers in this realm of mainstream music, and to learn about how all that comes together has really helped my cello playing.

I went to college and did theatre. After that, I spent about three years in Seattle doing French theater and community theater and sorting it all out. Then I applied to graduate school and got accepted, so I started pursuing my master's in theatre at the American Conservatory Theatre in San Francisco.

de ouro para a literatura russa, com Turguêniev, Tolstói e Dostoiévski no auge do vigor criativo. Foi uma época importante também para a música: Tchaikóvski tornou-se aluno do Conservatório de São Petersburgo, fundado em 1862, e imediatamente depois de se formar foi convidado para dar aulas no Conservatório de Moscou, fundado em 1866

Studying music in a conservatory would be stifling for me, although I respect people who can do it. And by no means am I an expert at notating music or music theory - that's not really my world.

I moved to London when I was 19 and went to a three-year drama-and-conservatory training. I lived there for almost ten years.

What I learned growing up in Red Mountain Theatre Company is real power and time management and how to represent myself well. How to show up earlier and stay later. Red Mountain Theatre Company, in my opinion, is the most incredible theater conservatory in the world.

I was born and grew up in Phoenix, and I left there when I was 17 to go to Interlochen Arts Academy - a boarding school in Michigan - for a year, and then I went to college for a year at The Boston Conservatory and landed the 'Spring Awakening' tour midway through my freshman year, which was pretty cool.

I've never taken a lesson in my life, and I can play every instrument there is. I play by ear, but I can fool anybody into thinking I went to some conservatory of music.

When I was a young musician, the only option available to pursue secondary education in music was to attend a classical conservatory.