Luka Sulic Quotes

Well, the teacher I studied with for nineteen and a half years was a man named Paul Gavert. He was a great lieder singer, so basically I'm a trained lieder singer because of that teacher. The teacher I currently study with - since 1995 - is Joan Lader, who also studied with Gavert.

I've got a collection of songs that I've had, I keep adding to and they're all great American composers. I wanted to showcase American composers and I've done that on a lot of my records and played things by American composers that I really respect.

And it's a crime because the great plays of history, going all the way back to the Greeks, are part of everybody's heritage. It's just like in music, Beethoven or Mozart, that's everybody's heritage.

Many fail to realize this great recording industry was built by so-called jazz artists. And at the other end of the spectrum, a base in European classical music as well.

Younger generations in particular, who have spent a great deal of time in information environments since they were small children, would feel like a fish out of water if they were shut out of the global stream of information.

You can learn more from the lows than the highs. The highs are great but the lows make you really look at things in a different way and want to improve. Every player will have both in their careers and I have, but what you get is that experience which is so important to perform at your best.

My teacher, my great cello teacher Leonard Rose, was such a great cellist, and nurturing man, very patient. But I grew up not only admiring him, but obviously Casals, Rostrotovich, Jacqueline du Pre, and many others, including many of my peers and contemporaries.

Being exposed to different production environments in Korea, Japan and the U.S. was a great experience, and each system allows you to quench your thirst in a different way.

We have such a great depth of human history in all of the arts, whether it's opera or mathematics or painting or classical music or jazz. There's so many things to study, new books to read, and certainly always ways to transform old ideas and to come up with new ones.

I loved Hendrix. I mean, really, really loved him. As if he were one of the great classical composers. And he was. That's how I saw him.

For me, few things are more compelling than watching a great opera.

I became a set designer for opera. I'm a great opera buff, I love classical music, and I needed a time-out.

In Hamburg, there are three major orchestras, an opera house, and one of the great concert-hall acoustics in Europe at the Laeiszhalle, in a town a fifth the size of London. And that's not unusual. In Germany, there are dozens of towns with two or three orchestras. The connection with music goes very, very deep.

They're simply following what was laid down in front and they play the same thing. So, there's no great challenge In being a classical drummer.

I decided I wanted to be a musician when I saw the movie 'Amadeus' around 1987. I was five years old, so it was a good time to start piano lessons after seeing Tom Hulce who played Mozart play the harpsichord on his back with his hands crossed. Such a great movie to inspire a five-year-old.

We've been listening to Wagner, which is so great.

I did a concert... in September with the Berlin Philharmonic... They're great musicians, and there's always something to learn from them.

I don't regard myself as a great classical or jazz pianist. I like country music, but I'm not a great player. I just like music. Drums 'n' bass is pretty exciting and I'd love to explore it.

Never have so many recordings of the great Masses and motets been in wider circulation.

The New York Philharmonic is a tremendous opportunity, a great orchestra.

Perhaps, once I am gone, the one thing I might be remembered for is having sung a great deal of Mahler with a great many phenomenal conductors. It is wonderful music, very spiritual.

But I'd play on everything from pop records to a lot of the glam stuff to rock stuff to classical stuff. I used to get called to do all those things, it was great.

I got to work with my wife, Lena Olin, for the first time, which was great. I thought it might be difficult in some way to talk to one's wife in a different way but it was so not forced.

Mozart, Beethoven - how can you not want to share them with everyone and anyone? This stuff is of as great importance as the food we eat and the air we breathe.

I think the opera is one of the great cultural jewels of Los Angeles.