1. The tenor is egocentric. If you think the soprano is that, you have never met a tenor in your life!

2. The tenor is always in fashion: he spends a lot of money on items such as shoes and watches; his attention to detail is really shocking!

3. The tenor is the "prima Donna" of the situation, he always wants to prevaricate the soprano even trying high notes that never end...

4. The tenor is metereopathic. If his day is a "no" day, it is better to leave him alone, especially if he has to sing.

5. The tenor is a real Don Giovanni, so sopranos be careful!

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1. The term "orchestra" derives from the Greek ὀρχήστρα and was used to indicate the place reserved for the choir, the instrumentalists and the dancers during the theatrical performances.

2. Orchestras grew numerically especially in the nineteenth century with Richard Wagner, who added numerous instruments for the representation of the Ring of the Nibelung.

3. There are four types of orchestras: chamber ensembles, chamber orchestra, philharmonic orchestra and symphony orchestra.

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1. You can share the Opera. You can go there alone, but listening to intense emotions together with another person binds you and creates a connection using only your eyes (because you can not talk).

2. At least once in life you have to go to remove it from your to-do list.

3. You will never feel anything like this if you do not go to the theater.

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Ten historical anecdotes about musicians and composers

1. Gioacchino Rossini, having learned that the members of the municipal council of Pesaro intended to dedicate a monument to him, said to them: - Give me the 20,000 and I'll stand on the pedestal myself!

2. The conductor Leopold Stokowski didn't want to hear any noise during the concerts. Once, at the limit of tollerance, he stopped directing and turned to the audience, particularly annoyed: - Händel created this composition for string and brass instruments. In the score there is not even a note for coughs and colds.

3. During the rehearsals for a concert, the soloist was not able to interpret his part well, continuing to make mistakes and to be out of tune. Not wanting to take his responsibilities, he told Joseph Haydn: - Conductor, the orchestra is so loud, I can not hear myself.
Haydn replied: - In that case you are really lucky!

4. For the inauguration of the monument to Ludwig van Beethoven many European personalities were invited and came to Bonn. Unfortunately, the tribune for the most illustrious guests was positioned so that the statue appeared from behind. At the time of discovering the monument everyone was stunned, but the master of ceremonies did not lose heart and said:
Gentlemen, forgive him! In life he was a little boorish and such remained even after his death!

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Interview with Daniel Oren

We are honored to be able to do this interview with the great Maestro Daniel Oren, internationally renowned conductor, present and acclaimed in theaters all over the world.

1. Retracing your career, you approached music at an early age and as early as 17 years old you were admitted to the Berlin Hochsule to study conductorship. We can say that with the music was love at first ght, do you remember the moment when it found the way into your heart?

I was a boy soprano and sang in the choir of the synagogue. It was like a good game, but nothing more. Then Leonard Bernstein came to Israel for a concert and there were his Chichester Psalms in the program. In this piece there is a solo voice, very clear, which can also be that of a countertenor. But he preferred a singer boy who still kept the child's voice, and long story short, he auditioned and chose me. It was a dazzling experience that changed my life. The personality of the Maestro, his talent, his communicativeness fascinated me and I decided, together with my mother who guided me in all my choices, that I would study music to become a conductor.

2. You studied with great Maestro Herbert Von Karajan. What is the best memory of him? The most valuable lesson?

The deepening of the technique, above all, but not an end in itself. Karajan intended it as an instrument at the service of interpretation, through which musical execution becomes Art itself. He was for this reason an extraordinary model and he was able to transmit the methodology and the inner sense that I tried to make as much mine as possible.

3. How useful was it for you to have studied piano, cello and singing before starting a career as a conductor? Do you believe that your musical path has helped you to be a more complete conductor?

Certainly yes: counterpoint and composition are the essential subjects for a condutcor, but the knowledge of the tools is equally essential. In a compact group of eighty, ninety performers and even more, only one does not have an instrument in his hands and is the condutcor. But he is responsible for everything and must know the characteristics, the possibilities of each instrument.

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