Quotes About Performance

For an artist, there's nothing better than working with an orchestra.

Because I don't take money, I'll go anywhere and do a benefit concert with almost any orchestra.

Let me say that I've never thought to conduct because the conductor has to think to the music before the orchestra. And the orchestra comes later. For me, it's terrible.

Working in Hollywood for the orchestra world is a very time consuming and laborious job.

You get more nervous in front of a lot of people. That's why, when you play a concerto, you play with a small orchestra, in some place where you don't feel that it is as important as Carnegie Hall.

Music is about communication, and the chemistry between an audience and the orchestra is absolutely essential; the performance does not exist in a bubble.

The better the orchestra, often the harder it is to conduct, not the other way around.

I change the language with which I use my voice. In opera, I know I have an orchestra behind me; I have to communicate to people very far from me.

If the rhythm or beat of the music changes with a live orchestra, you have to think on your feet. If you feel like you are not on your leg, you have to make a decision to make it look as though nothing is going wrong.

It's not all that different with the orchestra. There are orchestras that seem to be encased in dough, so that first you have to break through the normal routine, and clear out the openings.

Next year I'm going to be a guesting soloist with orchestras all over Europe, to start off with.

Great cataclysmic things can go by and neither the orchestra nor the conductor are under the delusion that whether they make this or that gesture is going to be the deciding factor in how it comes out.

As long as I can sing halfway decent, I'd rather sing than act. There's nothing like being in good voice, feeling good, having good numbers to do and having a fine orchestra.

So, first you have to be able to play with a metronome. Then you take your freedom. If you play in an orchestra, you got to watch the conductor, he is like a metronome, but it is more difficult because he can change rhythms.

The shows are so different from each other, depending on whether I play with my band, Nine Stories, other musicians, an orchestra, only one or two members of my band.

Symphonic orchestras have almost become a glut in the market.

Then when I was in grammar school I played the clarinet, and then, after clarinet I played the flute in college orchestra - besides singing in the college chorus and things like that.

They're always so serious, the orchestras, you know? It's always a fun contrast of that song and the genre of music. And me.

There are three orchestras in Munich, all world-quality, in a city of one million. Yet every hall is full.

From early on, when synthesizers were first introduced into music, I liked the idea that you could get a big sound with them, electronic, but like an orchestra. And I could play it all myself. That was exciting.

It seems always to have been difficult to have been a New York Philharmonic conductor because of the nature of New York. We are in direct competition with the great orchestras in the world who come to play in our hall or in Carnegie, and we are constantly compared. I think that 's a good thing.

An American orchestra doesn't want to play more than it has to. I respectfully disagree with that attitude.

Playing in an orchestra is where I learned the most about music.

It's so important which musicians we choose for being in the orchestra.