James Levine
James Levine
James Lawrence Levineis an American conductor and pianist. He is primarily known for his tenure as Music Director of the Metropolitan Opera, a position he held for 40 years. He has made numerous recordings, as well as television and radio broadcasts, with the Metropolitan Opera Orchestra. Levine has also held leadership positions with the Ravinia Festival, the Munich Philharmonic, and the Boston Symphony Orchestra. In 1980, he started the Lindemann Young Artists Development Program and often works to train promising...
NationalityAmerican
ProfessionComposer
Date of Birth23 June 1943
CityCincinnati, OH
CountryUnited States of America
People are turning away from the more formal, traditionally posed wedding photos to a more intimate and natural approach,
You try on purpose to get players with different qualities which will rub off on one another.
It's just that, when the orchestra look at me, I want them to see a completely involved person who reflects what we rehearsed, and whose function is to make it possible for them to do it.
The invisible dilemma is that men face the very real problem that they don't feel comfortable bringing these issues up and they tend not to be acknowledged at work.
I really recommend the following. Before you're going to hear a piece, any piece, for the first time, don't do anything. Just go an hour early and read the program notes. Then you have some idea about how long it is, the instrumentation, what the idea of it is, the pure general shell. Then, when the piece is played, don't fight with it. Listen to it. And if you find anything that fascinates you, then here's the important thing: Go hear it again, soon.
It has to be able to play at the maximum expression and communication in every style, and the only way you can do that is - like Verdi said - working with a file, every day, little by little, until the orchestra's collective qualities emerge.
Women tend to have recognition and peer group support - recognition from friends and family that this has to be a big issue in their lives. They're more comfortable expressing the need for support and receiving it.
I grew up in an era where an orchestra was like a treasure chest
Its just that, when the orchestra look at me, I want them to see a completely involved person who reflects what we rehearsed, and whose function is to make it possible for them to do it.
I can imagine wanting to work with this ensemble and this company always.
I have a big problem with conductors who gesture a lot.
As major orchestras around the world are gripped in various kinds of crises and upheaval, we need to be sure that we are bringing up this new generation.
Employee fathers need to step up to the plate and put their family needs on the table.
There is no relationship between the gestures and what an orchestra will do.