Anne Murray Quotes

But some people will say you just did these programs. Well, yes, the programs are important and I'm proud of the programs, but mostly I'm proud of the way the San Francisco Symphony plays these programs.

I have no experience performing that music live in front of an audience. So that remains to be seen. I'm very excited to see what that's going to be like.

I think I'm better at live shows than I used to be because I'm way more comfortable with the uncomfortable pauses between songs. Now, rather than trying to talk or do a costume change, I'll use those moments for myself. I listen to what other people are playing, or just rest, or dance, even though I don't know how to.

Once I was checking to hotel and a couple saw my ring with Blues on it. They said, 'You play blues. That music is so sad.' I gave them tickets to the show, and they came up afterwards and said, 'You didn't play one sad song.'

I was really conscious of that when I went in because I felt that I was pretty solid on the first one, but I didn't have the groove exactly where I wanted it.

I've never, ever in my life enjoyed playing live the way I am now.

When you play a concerto with a small orchestra, you don't feel it is as important as Carnegie Hall. You try to work out all the little problems. Once that's all done, trust comes in.

Music is a performance and needs the audience.

There's something interesting about playing live; you're in the moment, and I think it would be beneficial.

We really never know what we're gonna play when we get on stage.

I do love to sing. Had I a longer set of thigh bones and a sweeter voice, I should have loved to be a performer.

But I love singing live. Nothing beats the feeling of going out on stage and going, 'I can really sing.'

I'll tell you what I love about directing: the surprise. You never know what's going to happen with your piece until an audience weighs in.

Playing live is such a total visceral experience, and really, as a musician, you're trained from the beginning to be a live performer.

When facing symphonic orchestras which have played some works five thousands times, you have nothing to do.

Composers love to write for symphony orchestras because the symphony is the Rolls Royce of musical instruments.

For years, I was stuck behind a keyboard rig. When I started playing guitar onstage, it was a bit of a release - not to be stuck in one spot the whole night. It's really enjoyable having the freedom to move around. You just have to remember to end up somewhere near a microphone.

You don't really know a song until you play it live.

Performing is a profound experience, at least for me. It's not as if I sit down and play 'Fire and Rain' by myself, just to hear it again. But to offer it up... the energy that it somehow summons live takes me right back, and I do get a reconnection to the emotions.

All I have is my performance, I try to feed in the best of everything that I could possibly do into those 90 minutes and to make a live entertainment show out of it.

It's a constant challenge to get your arrangement and musical expression across to a new audience, especially when you're playing live every night like we are.

In recitals, you are naked before the audience - well, naked with your jacket and tails. The audience sees and hears the real person, not some role you are interpreting.

I admire Tom Ades: he's a brilliant conductor, and he gets just the right hard, brilliant sound from the City of Birmingham Symphony Orchestra for Russian music.

As long as I can sing halfway decent, I'd rather sing than act. There's nothing like being in good voice, feeling good, having good numbers to do and having a fine orchestra.

'm not saying I would never do acting again, because I love it, but there really is nothing compared to getting up in front of people and singing your music.