A Quote by Charlie Brooker
Games get a bad press compared with, say, opera - even though they're obviously better, because no opera has ever compelled an audience member to collect a giant mushroom and jump across some clouds.
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When I am on the opera stage, I am playing someone else. In recitals, I even have the chance to talk to the audience, which is something you don't get to do in opera.
My message is to forget about dichotomies. The Brain Opera is an opera, even if it does not tell a story in the usual way. It is a psychological journey with voices - so I do consider it an opera.
That was my way, and I also use the music after five years, I started hearing opera, opera, it was very good instrument to keep the spirit very strong because you feel like you are yourself singing opera, and I used to hear a lot of opera, they send me tapes.
If you approach an opera as though it were something that always went a certain way, that's what you get. I approach an opera as though I didn't know it.
Even when I rehearse down in the bowels of the Metropolitan Opera, you can't help but think why The Phantom of the Opera was inspired by what happens in the bowels of the opera house.
That's opera! I just love it. It just thrills me! And it's very different than theatre, and sometimes it can be frustrating because when you come in the first day of rehearsals obviously you're an opera fan, right?
My parents were opera singers. I didn't want to play opera because I wasn't good enough. I didn't want to play their music; I wanted to play the music that I wanted to play, and I'm so lucky that today I get to play that music, even though I don't like every song I write.
My father's an opera nut, and my stepmother used to work at the Metropolitan Opera, so I had a lot of opera immersion. I like the grandness and pretention of it.
Opera Australia has a mix - it produces new work, it produces from the classical repertoire and, particularly in more recent years, it's done those blockbuster musicals which are very lucrative for it and reach an audience that classic opera or a new opera perhaps wouldn't reach, like South Pacific for example.
I think it's the responsibility of a major opera house not only to cultivate debate and get people thinking, but also to be interfaced with things that challenge them. To challenge its audience and not just deliver things that they know, even though some of those things are wonderful.
I think it was just an opera. Now, you go to opera, you expect to see and hear what the opera is. So, it was Catfish Row. It was singers. Marvelous voices. It didn't make no difference what color they were
I think it was just an opera. Now, you go to opera, you expect to see and hear what the opera is. So, it was Catfish Row. It was singers. Marvelous voices. It didn't make no difference what color they were.
The difference between me and, say, the opera critic is that I'm charged with thinking about the world beyond opera. I could go see 'Die Fledermaus', for instance. I've never done any of this, by the way. I've never written about one opera since I've had this job.
We tend to forget that in those days before the Internet and HBO and Imax and 3-D cinema, opera was the thing. Opera and theatre. If you were a man of the world and you mingled among the happy few, you would be at the opera.
I'm involved with a baroque opera company here in Italy. I write some of their booklet material, comments on operas. I also write for some baroque opera festivals because this music is my real passion.
There's the beauty of the stage. I don't like filmed theater or opera because you're kind of playing soccer in a hockey game. Either or, they don't do justice to the media and you end up with a hybrid that is purely sensationalistic. Opera is a very theatrical medium that should be seen on a stage with the musicians in the pit in the audience.
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