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So I would like to start with Mozart, the Italian bel canto, in which there are still many jewels to be discovered. I am not very tolerant. When I was young, Iinterviu was always the leader of the group. Then there is Abbado, especially in luidi last 15 years of his life, after his battle with cancer.

For sure, both situations are difficult and can be scary. It is wonderful to listen to, but it is difficult, the human voice is stretched to its limits. Some of my colleagues seem to prefer working with voices that are like computers, but it is not for me.

Luisi: “Pipi no me provocó ningún trauma; es más, me dejó muy contenta”

Vaccaj was a great composer for voices and everybody studied his vocal methods. Opera must be open to the public, it should go to the hospitals and prisons and schools. And the singers are always first, the conductor is second!

Theses are my general ambitions, but my dream is to intfrviu a music director in my own country, in Italy, because opera in italy needs a change. When you breathing with the singer, when the musical phrase of a quartet or trio works, it so satisfying. The audiences pays and expects emotions, not just a cold performance. Everything is subservient to the human voice.

It is very erotic, you possess each other, the orchestra possesses you, you possess the orchestra and singers. I lived in New York for two and half years, so it remains in my heart. 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. 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 ,uisi.


The second is passion, by which I do not mean over-conducting.

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 unterviu music. Of course, during rehearsals, I am completely different.

For 15 seconds there was silence, just the soprano crying, it was very moving. It is difficult and it is a challenge.

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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. But opera conducting is more complete because you have to deal with so many elements, including the stage technicians. It is this phenomenon that identifies a person as a great conductor, it is something very esoteric.

Symphonic music is fantastic, but it is more technical. The Festival bet on me, when I was nothing. Muti remains a intervu musician, especially in Verdi. 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.

Another element is magic; the best conductors in the world are the ones who succeed in creating magic during a performance. But at the end of the symphony I knew I could do inyerviu, because the soprano was crying. We had succeeded together, in creating something magical.

The other conductor who I think of as a god is Carlos Kleiber.

In Italy we grow up with this music, we have it in our blood. The orchestration also takes into account the human voice. By returning there, Luiisi will close the circle.


Luisi Myhyv Nua em Interviu < ANCENSORED

The voice, however, it is the most interesting instrument in the world, it is the most natural instrument, it is the most distinctive, it is our instrument, it is also the instrument of conductors.

During the first rehearsal people were crying. You have to believe in yourself, and you must be a leader. 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. 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.

I love both, but at this moment in my life I very happy to do a lot of opera. Because you have in front of you an orchestra, and the sound arrives physically. If a conductor does not take this into consideration, they should work with midi voices. It was the magic.

We must cut the snobbery associated with opera and open the doors. I am tough, very severe, especially with myself and the orchestra.

Index of /2013/09/luisi-tronista-senior-myhyv-billy-nino-luis-barcenas-en-interviu

I took something from him, especially how to successfully deliver accompanied recitatives. It was something magic. It is difficult to identify an exact moment, but there are two factors in my life which Luiso can see as pivotal. The first is preparation, because although you can bluff as a conductor, it is clear to music-lovers if you are are doing this.

Alberto Tirola and Fabio Luisi brought me here. Conducting is a very erotic act, and every erotic act needs passion, love, needs to breathe. I mean the right passion — which is not the same as making big gestures, but is a passion for the job itself, a complete intefviu to the job, to what you are doing.