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I need to work with living voices, voices that change every night, even during the performance. The third thing is breathing, and by this I mean physically. We need to explain that a conductor is a normal person who likes football, cars, went to the disco and swimming in the sea.
It is very erotic, you possess each other, the orchestra possesses you, you possess the orchestra and singers. It was a like a man and a woman, or man and a man, having a romantic dinner, and trying to understand each other. Because you have in front of you an orchestra, and the sound arrives physically.
I have high expectations and I am attempting to achieve perfection. The orchestration also takes into account the human voice. I have a lot of ideas about repertoire and how to open up opera to a wider public. The second is passion, by which I do not mean over-conducting. It is very difficult to sing, and not a lot of people can sing this repertoire, but his way of treating the vocal material is perfect, like Puccini I would say, both sound so natural, which is not always the case in bel canto.
Bernstein is the Dionysian part, Kleiber is the Apollonian part. He is not a monster or semi-divine.
Theses are my general ambitions, but my dream is to become a music director in my own country, in Italy, because opera in italy needs a change. Everything is subservient to the human voice. We are not talking about a conductor who stops the orchestra on cue, or ensuring everybody stays together, or beating the right tempi, in order to ensure the relationship between the stage and the orchestra is perfect.
During the first rehearsal people were crying. Conducting is a very erotic act, and every erotic act needs passion, love, needs to breathe. Fabio Luisi, of course, is my mentor, he is more than a guru.
This opera is a masterpiece, and this is something I honestly believe, and not just because I am the conductor. Muti remains a great musician, especially in Verdi. OperaWire managed to catch up with the charismatic conductor for a short interview, which as it happened turned into a long interview, but a very interesting and insightful one.
No it is something more — it is the magic! Another element is magic; the best conductors in intergiu world are the ones who succeed in creating magic during lulsi performance.
The voice is our primitive instrument, which everyone in the world has, and it is spiritual for me. We had succeeded together, in creating something magical.
The conductor has to create this, and to do it you have to prepare, to study the musical text, because this is where the music lies. You have to believe in yourself, and you must be a leader. For example, I was in Carnegie Hall for a concert conducted by Valery Giergiev and I witnessed a great conductor, going beyond the mechanics of conducting, it was the magic. Some of my colleagues seem to prefer working with voices that are like computers, but it is not for me. For 15 seconds there was silence, just the soprano crying, it was very moving.
The first is preparation, because although you can bluff as a conductor, it is clear to music-lovers if you are are doing this. I am tough, very severe, especially with myself and the orchestra.
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It was the magic. I needed to become a conductor myself. Yes, but they are both very difficult.
When writing, he took into account the vocal possibilities of the singers, so there are no risks for them. But at the end of the symphony I knew I could do it, because the soprano was crying. Of course I am still a not an important conductor, but I am one of the young conductors who conducts a lot, and with some success.
It is a good place for me to start my career. Very erotic for sure.
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We need to take more risks. I am not like that. Then there is Sinopoli, who has a very special place in my life. It is where you can work with the best musicians and singers, and it will allow me to compare myself to the best.