YouSaid · the spoken record

David McVicar

lines on the record: 45
first: 2008-10-05
most recent: 2008-10-05
sittings or episodes: 1
sources: podcast

Every line below is reproduced as it was said and linked to the record it came from. Nothing here is summarised or generated. Directory · Search · Corrections

“Well, I'm imagining that my island is deserted because it's been a tsunami or something, but miraculously preserved is a well stocked bar. Where the fridges still work, so I can while away my time before I get rescued mixing cocktails”
2008-10-05 · Desert Island Discs · David McVicar · IDENTIFIED FROM THE TRANSCRIPT · source
“I'll take the bag of Agita. Thank you very much. My book would have to be my favourite novel which is Thackery's Vanity Fair which I have read fourteen times and never get bored of.”
2008-10-05 · Desert Island Discs · David McVicar · IDENTIFIED FROM THE TRANSCRIPT · source
“Not interested in that. take Shakespeare. I thought was allowed to take something else if I didn't like the Bible, but apparently I'm not.”
2008-10-05 · Desert Island Discs · David McVicar · IDENTIFIED FROM THE TRANSCRIPT · source
“I wanted something that wasn't vocal because I've noticed I've only You know, I work with the human voice and I suppose it's something that I'm obsessed with. And I couldn't decide do I choose another piece by handle or do I choose another piece by Mozart and eventually? Mozart being the first compulsory ever fell in love with one, and I chose piano concerta number twenty three.”
2008-10-05 · Desert Island Discs · David McVicar · IDENTIFIED FROM THE TRANSCRIPT · source
“Not well and getting increasingly sociable from being very lonely as a child and someone that's perfectly happy to be in their own unknown, much more sociable creature so. Am I going to stop there till I die? Do I get rescued?”
2008-10-05 · Desert Island Discs · David McVicar · IDENTIFIED FROM THE TRANSCRIPT · source
“He was fantastic, Panta was great fun to do. It's difficult first of all my diary is very, very full, and secondly, if you spend your career specializing in one art form, you tend to be off the radar as far as the other art forms are concerned. I would like to work with actors again.”
2008-10-05 · Desert Island Discs · David McVicar · IDENTIFIED FROM THE TRANSCRIPT · source
“Right. I wanted something from a musical because I really admire musicals and I love going to them. And I needed something from the holy grail of all musicals, probably the greatest piece of musical theatre ever written Which is Gypsy? And I chose Ethel Merman singing Rose's turn. I feel it's an example of where one can honestly say that a broadband musical can in no way be compared unfavourably with an opera.”
2008-10-05 · Desert Island Discs · David McVicar · IDENTIFIED FROM THE TRANSCRIPT · source
“I do feel emotions in a very extreme way and in an in very internalized way. I sometimes have great problems with anger, which can sometimes explode out of me like a nuclear warhead. I certainly do not Take it very personally when in my work I feel that someone doesn't want to play ball with me. When I sort of come in with open hands, really there's nothing up my sleeve, and it does upset me, it does actually wound me when I find people resistant. the honesty of the transaction that I need to make the work.”
2008-10-05 · Desert Island Discs · David McVicar · IDENTIFIED FROM THE TRANSCRIPT · source
“Yes, it's for Andrew because it's the way I feel about him. We've been together for four years now and I think Andrew has literally saved my life with his love, so it means a lot to me.”
2008-10-05 · Desert Island Discs · David McVicar · IDENTIFIED FROM THE TRANSCRIPT · source
“This is a track by Johnny Mitchell who gain is an artist that I've enjoyed listening to for most of my life and really famous song she wrote in her album blue. It's called A Case of You. And yeah.”
2008-10-05 · Desert Island Discs · David McVicar · IDENTIFIED FROM THE TRANSCRIPT · source
“Oh I like big harsy, you knows, because I'm Scottish, so I like, you know, big hearty things that you can stick in a pot and shove in the oven. What bottle of wine entire bottle goes into the Burgen Young Hens thing? You know, I really, really enjoy cooking.”
2008-10-05 · Desert Island Discs · David McVicar · IDENTIFIED FROM THE TRANSCRIPT · source
“I just want a little more breathing space now. I'm a lot calmer than I used to be, I mean, the greatest pleasure when I know it at working is to be in my kitchen cooking, which is my great passion outside of the arts is making things to eat.”
2008-10-05 · Desert Island Discs · David McVicar · IDENTIFIED FROM THE TRANSCRIPT · source
“Yeah, but I don't have the legal ability to stop things like that from happening, so it does get very, very frustrating. But going back to your earlier point, this does entail a lot of travelling, and it does clog up my diary, and it is something that maybe I should stop doing. Because I'm forty two years old now. And I just want to have a little more space in my life. and the creation of the new productions is far more important and shouldn't be compromised.”
2008-10-05 · Desert Island Discs · David McVicar · IDENTIFIED FROM THE TRANSCRIPT · source
“And the opera is, and also the physical production can be hired. like ache me heart to a big American house so these are the sets”
2008-10-05 · Desert Island Discs · David McVicar · IDENTIFIED FROM THE TRANSCRIPT · source
“I try to, it's very, very hard to schedule in. The curse my curse is the shores are so damn successful that people will keep on reviving them probably way beyond their shelf life, and that is a big issue because do I want to maintain a quality control on my revivals? Well, yes, I absolutely do. And then I have to take on the new productions as well.”
2008-10-05 · Desert Island Discs · David McVicar · IDENTIFIED FROM THE TRANSCRIPT · source
“triumphant I feel fine. I am extraordinarily vigorous and healthy. It's not as dramatic an issue as it would have been to talk about five or six years ago. I think it's just part of me. There's no reason not to talk about it, but I don't make a big issue of it.”
2008-10-05 · Desert Island Discs · David McVicar · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, I wasn't feeling very well to rehearsals and then upstarts it feel very, very, very unwell at the second performance, and four days later I was in hospital.”
2008-10-05 · Desert Island Discs · David McVicar · IDENTIFIED FROM THE TRANSCRIPT · source
“This would at Saul singing, and he singing here an incredibly camp arrangement of somewhere from Bernstein's West Side story.”
2008-10-05 · Desert Island Discs · David McVicar · IDENTIFIED FROM THE TRANSCRIPT · source
“I don't know, I think something has really, really working when you It seems to be speaking on its own terms to the audience in a really really direct way when the audience are really getting the piece itself, what am I saying? It's such a hard thing to grasp. It's like grabbing hold of thin air. How do you define what it is? But we all know it when it happens. We all know that voluntary communal act of concentration between an audience and performers and musicians when an opera performance is absolutely at its peak. sort of flow into each other. That's the only way I can answer that question. I know it when it happens. I know the only way to achieve it is through incredible hard work. Yeah, don't underestimate the contribution of directors, please.”
2008-10-05 · Desert Island Discs · David McVicar · IDENTIFIED FROM THE TRANSCRIPT · source
“A good indicator of how well you're doing at Glenborne is when they all come back from the dinner interval and the conductor comes back into the pit to take his call before you do the final act. And William Christie got a standing ovation just for coming back into the pit. Now a lot of cynical people say that the climber and audience have had little too much champagne with the time they come back which may be the case and I think a bit of champagne in the supper interval is a good thing because it gets rid of their inhibitions and they just really let us know how much they were enjoying this performance and the third act was Magical in terms of the silence and concentration. When the sings were performing and by the scale of the ovation when the singers were finished.”
2008-10-05 · Desert Island Discs · David McVicar · IDENTIFIED FROM THE TRANSCRIPT · source
“Well It was a special project from its gestation because it's one of the rare times that I got to choose the piece I wanted to do. But with Julia Chesery we began with just a title and a conductor William Christie and an orchestra the age of enlightenment. And no singers whatsoever so we just began to piece it together and I managed to assemble. A beautiful company of singers, all of whom I had a great relationship with. We knew something very special was happening by the stage rehearsals. We knew we had something very different and we knew it was Reaching people in an unusual way.”
2008-10-05 · Desert Island Discs · David McVicar · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, I had to have something from Handel's opera Julia Chesery because it was one of the biggest successes of my career and one of the most wonderful experiences I ever had. But I was faced with a big dilemma which track do I choose and which artists do I choose? Because when you know as many singers as I do, they all want to know why didn't you choose me on desert island discs. So I chose an area Gocar spami from at one of Julio Chasery, but I didn't choose a recording by anyone that has been in the production in that role. I've chosen a recording by David Daniels who did sing the title role in a revival of Julio Caesar. I suppose what I'm saying is I'm really sorry Daniel Denise I didn't choose one of your tracks and please don't kill me when I see you next time.”
2008-10-05 · Desert Island Discs · David McVicar · IDENTIFIED FROM THE TRANSCRIPT · source
“Yes, this began to feel much better. This wasn't Square Peg and Rowan Hall time anymore. I found myself working in an environment where my mind was completely engaged and my motions were completely engaged in tandem, and then I went yes, this is it. This is what I want to do.”
2008-10-05 · Desert Island Discs · David McVicar · IDENTIFIED FROM THE TRANSCRIPT · source
“Small tuning company. A small little theatre company and we would do we would fill a nation that we would do essentially a classical text and we would put them onto the back of a truck and we would drive them to the highlands. And I think what I was doing was I was always experimenting with a socket to them kind of approach how to take a text like Dr. Faustus and deliver it to an audience who would otherwise have absolutely no interest in seeing a Marlow play with as much pizzaz and theatre as I could think of.”
2008-10-05 · Desert Island Discs · David McVicar · IDENTIFIED FROM THE TRANSCRIPT · source
“It was a wonderful time to be living in Glasgow. money and there was a will to meet lots and lots of culture happen to me.”
2008-10-05 · Desert Island Discs · David McVicar · IDENTIFIED FROM THE TRANSCRIPT · source
“I have had confrontations with singers very few when they have happened they have been very nasty because it has been a clash of two titanic egos. But for the most part I've been very, very lucky in the collegiate nature of my relationships with my cast.”
2008-10-05 · Desert Island Discs · David McVicar · IDENTIFIED FROM THE TRANSCRIPT · source
“I love singers I've met very many friends who are singers I'm very, very privileged. That's a very strange thing to say to me. What do you mean? Sorry.”
2008-10-05 · Desert Island Discs · David McVicar · IDENTIFIED FROM THE TRANSCRIPT · source
“My third track is a lead by Brahms who is not my favourite composer, but it is sung by one of my favourite singers and one of my best friends, the Mitsusoprano Sarah Connolly, who, I think, has one of the most unique voices of our time with whom I have now done, I think eight productions, and one of the blessings of my career is that it coincided with that of Sarah Connolly.”
2008-10-05 · Desert Island Discs · David McVicar · IDENTIFIED FROM THE TRANSCRIPT · source
“Sometimes Sometimes I'm sure that was a really annoying little bastard. I'm sure I wouldn't have liked me. I'm sure it would have wanted to slap me.”
2008-10-05 · Desert Island Discs · David McVicar · IDENTIFIED FROM THE TRANSCRIPT · source
“In 198 But it makes you makes you survivor, it makes you pugnacious, and it stands in good stead for the slings and arrows of life, doesn't it?”
2008-10-05 · Desert Island Discs · David McVicar · IDENTIFIED FROM THE TRANSCRIPT · source
“While I wore a lot of makeup and a lot of nail varnish, also as beginning to experiment with my sexuality because I knew by then that I was definitely gay. In Glasgow, if you're a gay boy, you either batten down the hatches or you get quite aggressive and upfront about it, and I chose to get aggressive and upfront about it, and everyone left me alone.”
2008-10-05 · Desert Island Discs · David McVicar · IDENTIFIED FROM THE TRANSCRIPT · source
“Yes, I've always had a problem with authority figures. I really don't get on with them, and also I was being quite experimental in what I looked like then when I was.”
2008-10-05 · Desert Island Discs · David McVicar · IDENTIFIED FROM THE TRANSCRIPT · source
“the entire production model boxed and doing other costume drawings and I had to light gore and study theatres and really really get to know the stage and it bizarrely that really put me in good stead”
2008-10-05 · Desert Island Discs · David McVicar · IDENTIFIED FROM THE TRANSCRIPT · source
“I did my last year of school where I am the wonderful luxury of only studying art and music because I was so bad at everything else or did a bit of history as well I think. I spent a year long project designing production of the magic flute.”
2008-10-05 · Desert Island Discs · David McVicar · IDENTIFIED FROM THE TRANSCRIPT · source
“A second choice is something to remind me when I'm on island that I came from Scotland, and it's a Burns song, and it's sung by Eddie Reader Winch was with her band fairground attraction because it's part of my youth and it's a bandies to love a lot when I was younger.”
2008-10-05 · Desert Island Discs · David McVicar · IDENTIFIED FROM THE TRANSCRIPT · source
“I was very artistic. My primary talent was in art. I was painting, I was designing. That was what my parents thought I was going to be an artist.”
2008-10-05 · Desert Island Discs · David McVicar · IDENTIFIED FROM THE TRANSCRIPT · source
“I'd save up my pocket money and go out to HMV and buy it. Or I would go to the school library and beg the teachers to let me dig it out of the cupboard and take it home with me, things like that.”
2008-10-05 · Desert Island Discs · David McVicar · IDENTIFIED FROM THE TRANSCRIPT · source
“It wasn't a happy household. My parents didn't have a happy marriage. It wasn't a particularly stimulating environment certain of the stimulating artistic environment to grow up in. I was a very unhappy child, a very lonely child. This music, I think, helped me give a sense of who I was.”
2008-10-05 · Desert Island Discs · David McVicar · IDENTIFIED FROM THE TRANSCRIPT · source
“It put me in a cocoon. It put me in a consoling bubble where I could be myself and explore my own thoughts and explore my own emotions away from the pressures of what was going on around in my childhood household.”
2008-10-05 · Desert Island Discs · David McVicar · IDENTIFIED FROM THE TRANSCRIPT · source
“It's what makes, in my opinion, whatsoever the greatest opera composer. I mean, the context of that trio is a text which like Tame of the Shrew can be seen in very misogynistic terms, and yet Mozart somehow invests such incredible love and pity that he fleshes out and rounds out the characters in innish experiment way.”
2008-10-05 · Desert Island Discs · David McVicar · IDENTIFIED FROM THE TRANSCRIPT · source
“First stress I would have to have on my islands something to remind me of Mozart, and I chose the trio from the first act of Cazy Fantusi which was the first Mozart operator ever. knew intimately, actually at quite a young age. I think it's one of the most exquisite things that any human being has ever committed to paper.”
2008-10-05 · Desert Island Discs · David McVicar · IDENTIFIED FROM THE TRANSCRIPT · source
“I experienced over for the first time watching BBC two at a time when the BBC actually bothered to do these things and showed lots and lots and lots of opera broadcasts. I think the first thing I saw was the Bergman movie of Magic Fluzz, although I didn't understand it was specifically opera I was watching, I just enjoyed it as a movie, as a piece of entertainment storytelling.”
2008-10-05 · Desert Island Discs · David McVicar · IDENTIFIED FROM THE TRANSCRIPT · source
“I understand what you're saying, but I almost feel more it's the things which surround Opera the presentation of Opera, the fact that it happens in theatres which are quite intimidating for people that it's often performed in another language, that it's seen as being a very rarefied art form for Porsche people, I think that is much more the problem certainly. What I find is if you can grab people and get them into the operas, you know, if I can get my friends in on sheep seats and they can experience an opera for the first time, they are overwhelmed by the experience.”
2008-10-05 · Desert Island Discs · David McVicar · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, first of all, I didn't choose to work in opera or chose me. But I think Oprah made the right choice, yes, because with Opera, you're doing theatre, which is also an act of musical interpretation. And music is in many ways the art form which is the most emotive and the hardest put an intellectual finger on. It really does unleash big, big emotions in people.”
2008-10-05 · Desert Island Discs · David McVicar · IDENTIFIED FROM THE TRANSCRIPT · source
“Oh yes, definitely I think the grind of everyday life irons everything out and I think her. Wonderful things about the nature of live performance is that it can dredge things up inside people. It's certainly why I'm interested, why I work in life before it's the ephemeral nature of life performance in the theatre that excites me and it's also the fact that it's a communal action that takes place between human beings. I find that very, very exciting.”
2008-10-05 · Desert Island Discs · David McVicar · IDENTIFIED FROM THE TRANSCRIPT · source