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That permission. one thing that amazes me about you is the degree to which you, over the years working in these different countries and working with different orchestras, from the united states to france to germany to the czech republic, you say that you have an attitude almost like an actor who immerses themselves in a culture before they feel able to tell a story and interpret. what do you mean by this immersion? do you literally mean you have to speak the language, you have to go deep into culture, before you re prepared to conduct the music? it s really fascinating what the nature of artistic creations is. imagine that in this country, let s say shakespeare. the czechs will have smetana, dvorak. the russians will have a tchaikovsky, stravinsky, pushkin, etc, etc. everybody will have their own that represent not just their culture. ....
I mean, i enjoy it and i always like to sing because it makes everyone happy. so can we just make sure that we ve got a nice, clear line? you rejust singing, said pushkin. the music man project is run by david stanley. it s education rather than therapy, that s really, really important. it s about preparing my musicians to perform at the world s greatest platforms, if at all possible. and that really makes them have a sense of confidence, discipline and a real sense of identity and purpose in their community. they re musicians like everybody else. ....
30 days later, i received that permission. one thing that amazes me about you is the degree to which you, over the years working in these different countries and working with different orchestras, from the united states to france to germany to the czech republic, you say that you have an attitude almost like an actor who immerses themselves in a culture before they feel able to tell a story and interpret. what do you mean by this immersion? do you literally mean you have to speak the language, you have to go deep into culture, before you re prepared to conduct the music? it s really fascinating what the nature of artistic creations is. imagine that in this country, let s say shakespeare. the czechs will have smetana, dvorak. the russians will have a tchaikovsky, stravinsky, pushkin, etc, etc. everybody will have their own that represent not just their culture. they make the culture which is born from the nation ....
Imagine that in this country, let s say shakespeare. the czechs will have smetana, dvorak. the russians will have a tchaikovsky, stravinsky, pushkin, etc, etc. everybody will have their own that represent not just their culture. they make the culture which is born from the nation itself, from its character, from its way of expressing itself because. so the question is, are outsiders qualified, in your view, to interpret? yes, yes, but one has to make that effort, that is the important thing. and how far do you go in that effort? i think i m right in saying you speak five languages. is language a very important part of it? in the case of music, music being a universal language, if one is not able to verbally ....
So i was lucky, 30 days later, i received the permission. one thing that amazes me about you is the degree to which you, over the years working in these different countries and working with different orchestras, from the united states to france to germany to the czech republic, you say that you have an attitude almost like an actor who immerses themselves in a culture before they feel able to tell a story and interpret. what do you mean by this immersion? do you literally mean you have to speak the language, you have to go deep into culture before you re prepared to conduct the music? it s really fascinating what the nature of artistic creations is. imagine that in this country, let s say shakespeare. the czechs will have smetana, dvorak. the russians will have a tchaikovsky, stravinsky, pushkin, etc, etc. everybody will have their own that represent not just their culture. they make the culture ....