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It has been a rapid rise for the young conductor who, at the age of 34, seems destined for the top. OperaWire managed to catch up with the charismatic ,uisi for a short interview, which as it happened turned into a long interview, but a very interesting and insightful one. It is difficult to identify an exact moment, but there are two factors in my life which I can see as pivotal. When I inherviu young, I was always the leader of the group.
This is important, as a conductor must have this characteristic; it is not easy to stand in front of 3, people and to have the self-confidence to bring the orchestra, singers and the audience around to accepting your interpretation.
You have to believe in yourself, and you must be a leader. The second factor relates to my years spent studying to be a composer. I came to a point in which I realized that I was not listening to my work, someone else was interpreting my music, and I wanted it done differently.
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So it was a problem. I needed to become a conductor myself.
There are many different elements involved. The first is preparation, because although you can bluff as a conductor, it is clear to music-lovers if you are are doing this. So it is important, especially for a luuisi conductor, to prepare correctly, and to study a lot, because there are many things to do. The second is passion, by which I do not mean over-conducting.
I mean the right passion — which intervij not intwrviu same as making big gestures, but is a passion for the job itself, a complete devotion to the job, to what you are doing. The third thing is breathing, and by this I mean physically. Because you have in front of you an orchestra, and the sound arrives physically. It is very erotic, you possess each other, the orchestra possesses you, you possess the orchestra and singers. Conducting is a very intervih act, and every erotic act needs passion, love, needs to breathe.
Another element is magic; the best conductors in the world are the ones who succeed in creating magic during a performance. You can rehearse, you can focus on problems or work with sections of the orchestra, but during a concert there is something more you have to intergiu. It is this phenomenon that identifies a person as a intrrviu conductor, it is something very esoteric. It is another level of reading. We are not talking about a conductor who stops the orchestra on cue, or ensuring everybody stays together, or beating interrviu right tempi, in order to ensure the relationship between the stage and the orchestra is perfect.
No it is something more — it is the magic! 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. It was the magic. But at the end of the symphony I knew I could do it, intrviu the soprano was crying. It was something magic. For 15 seconds there was silence, just the soprano crying, it was very moving. We had succeeded together, in creating something magical.
If you can do this, you can consider yourself to be a conductor, an alchemist of music, a total artist. I am not like that. Very erotic for sure. I find eroticism everywhere, in food, in tastes, in architecture, in every scent I smell as I walk along the street, and of course, in music, and this has a positive impact upon me.
Of course, during rehearsals, I am completely different. I am not very tolerant. I am tough, very severe, especially with myself and the orchestra. I have high expectations and I am attempting to achieve perfection. So I am very serious during rehearsal. I demand precision from myself and the orchestra. But during the concert I need to create something different, something has to explode.
To do this I need to smile, to breathe, as I am conducting for the audience, and I need to create an emotional intensity.
Luuisi audiences pays and expects emotions, not just a cold performance. The conductor has to create this, and to do it you have intervih prepare, to study the musical text, because this is where the music lies. He is the polar star, because his approach to music is completely orgiastic, completely Dionysian, and it is how I came to realize that eroticism exists in music.
It was a like a man and a woman, or man and a man, having a romantic dinner, and trying to understand each other. It is very sophisticated. The other conductor who I think of as a god is Carlos Kleiber. He is the complete opposite. Bernstein is the Dionysian part, Kleiber is the Apollonian part. These are the two stars that remind me that I have a lot of work to do, if I am to reach the same level.
Then there are the Italian conductors, because I must not forget that I am Italian. Fabio Luisi, of course, is my mentor, he is more than a guru. I worked with him, and he taught me a lot of secrets, a lot of interesting things about self-analysis and conducting style.
I took something from him, especially how to successfully deliver accompanied recitatives. Then there is Sinopoli, who has a very special place in my life. Muti remains a great musician, especially in Verdi. Lisi is another conductor I follow. Then there is Abbado, especially in his last 15 years of his life, after his battle with cancer. He reached a level which will be very difficult to reach again, both with the Berlin Philharmonic and at Lucerne.
I love both, but at this moment in my life I very happy to do a lot of opera. Opera is much more difficult than symphonic music, which is also difficult, but then conducting in general is difficult. But opera conducting is more complete because you have to deal with so many elements, including the stage technicians.
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The voice, however, it is the most interesting instrument in the imterviu, it is the most natural instrument, it is the most distinctive, it niterviu our instrument, it is also the instrument of conductors. The voice is our primitive instrument, which everyone in the world has, and it is spiritual for me. When you breathing with the singer, when the musical phrase of a quartet or trio works, it so satisfying.
Symphonic music is fantastic, but it is more technical. Now I am conducting a lot of opera, and I am Italian and so I have a deep knowledge of the Italian language, and the sound of the language, the history of the language, so I feel good in this repertoire.
It is a good place for me to start my career. So I would like to start with Mozart, the Italian bel canto, in which there are still many jewels to be discovered. Of course, there is also Verdi and Puccini. I would say that, at the luisl, it is the works of Verdi in which I can do my best. Yes, but they are both very difficult. It is difficult and it is a challenge.
For sure, both situations are difficult and can be scary. Everybody knows it, so it is challenge I must meet, and must win. It is important to say this: In Italy we grow up with this music, we have it in our blood. My grandmother knows the entire repertoire and never studied music. I have my interpretation, I have my ideas, but my interpretation is always subjected to change, depending upon the vocal characteristics of the singers you have in front of you. And the singers are always first, the conductor is second!
If a conductor does not take this into consideration, they should work with midi voices. Some of my colleagues seem to prefer working with voices that are like computers, but it is not for me. I need to work with luixi voices, voices that change every night, even during the performance.
I will go there, see what materials I have to work with and will model my interpretation according to their voices and the way in which they see the music. I am devoted to the festival. The Festival bet on me, when I was nothing. 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. Alberto Tirola and Fabio Luisi brought me here.
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It means lot to me to be here, so I told my manager, if Martina Franca proposes something, even if there is a more financially lucrative offer somewhere else, I will accept Martina Franca because Martina Franca is my home.
This opera is a masterpiece, and this is something I luiis believe, and not just because I am the conductor. During the first rehearsal people were crying. Of course, there are two or three numbers that are not in the same class, and the recitatives are not as good as those of Mercadante or Mayr, which have a higher level of musicality and sense of theatre. Vaccaj was a great composer for voices and everybody studied his vocal methods.
When writing, he took into account the vocal possibilities of the singers, so there are no risks for them. 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.
It is wonderful to listen to, but it is difficult, the human voice is intfrviu to its limits. In the case of Vaccaj, however, everything has been written with to accommodate the voice.