music is his diplomacy and he isn t shy about his efforts, starting with his own ensemble. it is my dream that an israeli arab will sit amongst israeli jews and make music. all kinds of music. even wagner, adolph hitler s his favorite composer. there are a lot of musicians with numbers on their arms. but that music invites them back to the time of terror and we want to avoid that. i spoke to mehta in new york. zubin mehta, welcoming to talk to al jazeera. thank you. you are now the most famous orchestra conductor in the world. you ve won every award you can imagine. did you ever think you would have this kind of life? not in my wildest dreams. it s not as exaggerated as you put it. i m just a musician carrying his craft all over the world. how does it feel for you zubin mehta to be a representative ever israel all the way around of israel tall way around the world? this orchestra is really the positive face of what the world views israel today. we ar
auditioned and i choose to introduce. with both i work privately. the rehearsals and see what they have to say. how much i have to be flexible and flexibility musically speaking is very important. for the soloist to be flexible but mostly, for myself. so i have to be flexible. but you know, we are both free-thinking, free we supply in space together. and it s not as complicated as it sounds. there are some music critics who have suggested that with some conductors, not necessarily including you but some conductors that the dramatic arm movements according to these critics says more about the conductor tapconductor s ego thr responsibility. murveg is what you hear not music is what hear knot what you see. many holocaust survivors recoil at the idea of playing wagner which is the favorite of the nazis. you trialed to get israel philharmonic to play it. it didn t work out. would you try it again? we will but we have to have patience. i hope it happens in my lifetime.
auditioned and i choose to introduce. with both i work privately. the rehearsals and see what they have to say. how much i have to be flexible and flexibility musically speaking is very important. for the soloist to be flexible but mostly, for myself. so i have to be flexible. but you know, we are both free-thinking, free we supply in space together. and it s not as complicated as it sounds. there are some music critics who have suggested that with some conductors, not necessarily including you but some conductors that the dramatic arm movements according to these critics says more about the conductor tapconductor s ego thr responsibility. murveg is what you hear not music is what hear knot what you see. many holocaust survivors recoil at the idea of playing wagner which is the favorite of the nazis. you trialed to get israel philharmonic to play it. it didn t work out. would you try it again? we will but we have to have patience. i hope it happens in my lifetime.
young soloists who i have auditioned and i choose to introduce. with both i work privately. the rehearsals and see what they have to say. how much i have to be flexible and flexibility musically speaking is very important. for the soloist to be flexible but mostly, for myself. so i have to be flexible. but you know, we are both free-thinking, free we supply in space together. and it s not as complicated as it sounds. there are some music critics who have suggested that with some conductors, not necessarily including you but some conductors that the dramatic arm movements according to these critics says more about the conductor tapconductor s ego thr responsibility. murveg is what you hear not music is what hear knot what you see. many holocaust survivors recoil at the idea of playing wagner which is the favorite of the nazis. you trialed to get israel philharmonic to play it. it didn t work out. would you try it again? we will but we have to have patience. i hope
young soloists who i have auditioned and i choose to introduce. with both i work privately. the rehearsals and see what they have to say. how much i have to be flexible and flexibility musically speaking is very important. for the soloist to be flexible but mostly, for myself. so i have to be flexible. but you know, we are both free-thinking, free we supply in space together. and it s not as complicated as it sounds. there are some music critics who have suggested that with some conductors, not necessarily including you but some conductors that the dramatic arm movements according to these critics says more about the conductor tapconductor s ego thr responsibility. murveg is what you hear not music is what hear knot what you see. many holocaust survivors recoil at the idea of playing wagner which is the favorite of the nazis. you trialed to get israel philharmonic to play it. it didn t work out. would you try it again? we will but we have to have patience. i hope