I was in 'Seussical,' and I was in a cage onstage in a purple yarn suit singing backup, and I was like: 'I've had it. I can't do this anymore.' I will say for the record that I did love the show, but I was like: 'I want to do something else. I need a...
There's always blood on the carpet when I play Beethoven at the piano. I hate playing the piano! And it's so hard to fight for Beethoven's soul! But that's what I have to do!
Not with the Rochester Philharmonic, but I formed my own orchestra, made up of musicians from the Eastman School, where I'm on the faculty now, direct the Jazz Ensemble and teach improvisation classes.
With four people you can create one very strong kind of energy, but if you can get 65 people working together, and swinging together, that's a whole other kind of energy.
In '92, I got my first Broadway show as a performer - 'Crazy for You.' I was in the ensemble. In fact, I was in eight Broadway shows as a dancer. Seven of them were original shows. That's how I learned to create something from the ground up.
Another thing that I don't like to do is show too much how it goes. I do it once in a blue moon. Sometimes there are lessons when I don't pick up a violin at all.
Kleiber was the perfect dancer - so perfect that you could see the process. After all, dance is a process; it's a series of snapshots. Kleiber knew how to connect people to the flow, so he could stop managing people.
Mistakes can be like ice. If we resist them, we may keep on slipping into a posture of defeat. If we include mistakes in our definition of performance, we are likely to glide through them and appreciate the beauty of the longer run.
People still call me the eternal amateur. After all, professionals are supposed to be able to conduct everything. But I can't unless I feel some connection inside. Conducting is not an end in itself for me.
I think most people's record collections are more interesting than radio generally gives them credit for. You're likely to be as interested in the Grateful Dead as Palestrina. It pisses me off how compartmentalised music is. I used to be in a punk ba...
Purcell is a composer who had a formative influence on British music - even The Who now cite him as an influence. There's an intense, dirty harmony, but there's a Louis XIV kind of elan and style, too. He had the melancholy DNA of our national folk h...
What appeals to me about an American music directorship is the involvement of the conductor with the orchestra and the community. I think that's a fantastic thing. In Europe, being principal conductor means merely that you're the person who does most...
In some ways I believe music is the more convincing communicator of ideas than words. For instance, we can hear of Kordaly and Bartok and recognise them as Hungarian, but very few of us speak Hungarian, but the music itself speaks to more people.
There is this tremendous amount of arrogance and hubris, where somebody can look at something for five minutes and dismiss it. Whether you talk about gaming or 20th century classical music, you can't do it in five minutes. You can't listen to 'The Ri...
I learned, too, how it was possible with the help of the picture and action to transform an apparently insignificant violin passage into an incident, and to lift a simple horn call into a thing of stupendous significance by means of scenic emphasis.
What we do now is to be valued - but we need to do more, so that it's more exciting to other people, and therefore that excitement shines back on us and we're able to have the energy to do more, to widen our creativity.
On the other hand in London you can get an audience that desires dance to go as far as it can go: they've seen the bricks of ideas built over a period so therefore there is an acceptance of what otherwise might seem out on a limb.
I feel growing up in Mumbai is an advantage, as we grow up speaking so many languages that when we go abroad, it becomes easier to learn new languages.
I wish that only three residents of Tel Aviv could see what conditions on the West Bank are like. Living in such proximity, most Israelis have no idea about the adversity on the West Bank.
I have loads of issues with the way classical music is presented. It has been too reverential, too 'high art' - if you're not in the club, they're not going to let you join. It's like The Turin Shroud: don't touch it because it might fall apart.
As I came to New York, it was for me a new beginning. To discover what people are living here. What do they need, what do they expect, what would they like to be the image and the performance of the New York Philharmonic?
