A Quote by Gaston Leroux

We recognize the touch of the Opera ghost. — © Gaston Leroux
We recognize the touch of the Opera ghost.
A ghost who, on the same evening, carries off an opera-singer and steals twenty-thousand francs is a ghost who must have his hands very full!
The opera ghost really existed
With the help of the Holy Ghost, we can watch over ourselves. We can pray to recognize and reject the first thoughts of sin. We can pray to recognize a warning not to speak words which would hurt or tempt someone else. And we can, when we must, pray for the humility and the faith to repent.
Every comedian has a moment in his life when he realizes he's a little bit different from everyone else. It's like being the only guy in a movie who sees the ghost. The ghost talks to you and you talk to him. Then you turn to your friend and say, "Hey. Do you see that ghost? And he says, What ghost?"
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.
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.
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.
To keep ourselves grounded in the Lord's Church, we can and must train our eyes to recognize the power of the Lord in the service of those He has called. We must be worthy of the companionship of the Holy Ghost. And we need to pray for the Holy Ghost to help us know that men who lead us hold this power.
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
To see, to hear, means nothing. To recognize (or not to recognize) means everything. Between what I do recognize and what I do not recognize there stands myself. And what I do not recognize I shall continue not to recognize.
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.
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.
I've always gravitated towards opera, and the Royal Opera House is quite possibly the greatest opera house on earth.
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.
One of the very first ghost stories I read - and that was in a forest rest house, where it is a bit scarier - was by M.R. James. He is one of the pioneers of ghost stories. And the book was called 'Ghost Stories Of An Antiquary.'
This site uses cookies to ensure you get the best experience. More info...
Got it!