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I don't walk on stage unless I'm playing with a orchestra. But when I play a recital, I'm sort of on a scooter, and I just scoot very quickly on stage, and they're saying, wow, look at this. He's so fast.

Itzhak Perlman

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Itzhak Perlman
Age: 79
Born: 1945
Born: August 31
Conductor
Professor
Violinist
Yafo
Looks
Unless
Scooters
Walks
Recital
Playing
Recitals
Saying
Wow
Stage
Orchestra
Sort
Quickly
Look
Fast
Play
Walk
Scooter

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Everybody has a different kind of talent and a different timetable as to when they develop.
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For every child prodigy that you know about, at least 50 potential ones have burned out before you even heard about them.
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Same thing with harmonies. If you hear something that harmonically is interesting, express it. So that's what I'm saying about talking the music rather than just playing through.
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A Century of Wisdom is universal and will enrich readers for generations to come.
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I always say separate your abilities from your disabilities. You know, if I could play the violin, I don't have to play it standing up. I can play it sitting down and so on.
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Sometimes you get from the mouth of kids wonderful things.
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Child prodigy is a curse because you've got all those terrible possibilities.
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I'm now doing three things: concerts, conducting, and teaching, and they each support each other. I learn to see things from different perspectives and listen with different ears. The most important thing that you need to do is really listen.
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Believe me, I've had interviews where the person says, So when did you start and why? What about your parents? I say to them, Please, have you heard of the word Google?
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..I heard Ori Kam and was deeply impressed with his achievements as a violist. His technical and interpretive skills are truly unique. I see a great future for him.
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Just imagine yourself in a wheelchair. Go through the building. If there's a place you can't go in, it's not accessible.
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Sometimes it is the artist's task to find out how much music you can still make with what you have left.
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There is nothing like a fine Italian sound.
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I look at raising funds for The Perlman Music Program as a challenge and as a way to provide opportunities for people who care about the future of classical music.
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Nothing is better for my playing than teaching because when you teach, you have to think and you have to listen what other people do. And then all of a sudden, you play yourself and then you say, my goodness, I don't need a teacher. I'm my own teacher. Then I can react to what I'm doing immediately. It really improves.
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One of the great challenges is to know when things are not right.
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One must always practice slowly. If you learn something slowly, you forget it slowly.
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I couldn't only do one thing--I don't want the personal hell of oneness.
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For people who are really talented, what you don't say becomes extremely important. You have to judge what to say and what to leave alone so you can let the talent develop.
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