A Quote by Donna Leon

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.
I still the love classic period, but also the baroque period, and even 17th-Century music such as the music of Monteverdi. He's one of the greatest opera composers. He was the one who really started the opera.
I was very young, maybe five. The opera was very... I was attracted to opera to the point that I think it's the reason I started to write music for films. I never studied. There are film and music school that teach you how to write music. I never studied that. But the influence of opera, which is a combination of storyline, visuals, staging, plus music... that was perhaps the best school I could have had. That's what gave me the idea of coming to Hollywood to write music for films.
I've always loved opera; it never occurred to me that I would write a proper libretto. One of my closest friends is a composer, Paul Moravec, and a few years ago, Paul and I were at lunch, and I said to him, "you really have to write an opera." So, he says very casually to me, "I'll do it if you write the libretto." Well, little did I know that the within a couple of years we would end up getting a commission from the Santa Fe Opera to write an opera together, "The Letter," which turned out to be the most successful commissioned opera in the history of the Santa Fe Opera.
It's funny, because in deference to conventional wisdom, I spent my struggling writer years trying to suppress my naturally baroque literary voice and write clean, spare prose. I finally gave up and embraced my baroque tendencies when I wrote the Kushiel series.
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.
I seem to write an opera about every 20 years; if you live long enough you can write four operas. I finished my third in 1970.
Opera was an enormous part of my childhood. My parents were both opera buffs, and they met in the box seat of an opera performance. And I also was a boy soprano, so before puberty hit, I was onstage playing a wide variety of orphans and urchins in all sorts of operas, and the sheer melodrama of their stories was just always appealing to me.
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 thesis statement would be—Bach didn't write Baroque music. He wrote great music.
I want to write theater pieces, opera, or some kind of amalgamation where there is singing, music and theater.
European operetta and German singspiel provided the American musical its combination of spoken dialogue and song; the inclusion of dance traced a lineage to French baroque opera. But what a difference!
I'm lucky because my repertoire is so specific, and theaters are interested in me singing my repertoire because it is not done so much. I'm pretty well settled in my repertoire. I like what I sing. My voice is high, and there is not much in baroque opera for higher tenor.
Some of the opera houses in Italy had to be burnt down because people could neither see nor hear. They gave up seeing years ago, but they did enjoy the music.
I listen to music when I write. I need the musical background. Classical music. I'm behind the times. I'm still with Baroque music, Gregorian chant, the requiems, and with the quartets of Beethoven and Brahms. That is what I need for the climate, for the surroundings, for the landscape: the music.
I love wild, baroque, slightly excessive theatrical ideas, and because television needs so much material, there's a chance to get some of those odd ideas done.
My real passion is for opera. It was born and developed by listening to records, and my dream as a child was to record entire operas when I grew up, and this dream came true.
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