A Quote by Maureen O'Hara

I really wanted to be an opera soprano. — © Maureen O'Hara
I really wanted to be an opera soprano.
I wasn't the best in my class at the Royal Academy. There was a really good soprano and baritone who were technically better and are doing really well in opera now. But I was definitely the best mezzo-soprano in my class, because I was the only one of those!
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.
It was just as shocking for me to sing opera in a falsetto soprano in Germany.
Opera is when a tenor and soprano want to make love, but are prevented from doing so by a baritone.
There's a kind of a line between music and math, so I guess I got the music gene, thank goodness. But my mother wasn't too thrilled. She wanted me to go to university and get a degree or do something, and my father, he liked opera so he wasn't too thrilled either, because he wanted me to be an opera singer and I didn't have - as he said, I don't really have the strength to do that.
I got into cello in the fourth grade, and I played that for years. I adored playing it. I got an opera coach when I was 12 because I really wanted to learn how to sing properly. The only proper way to sing, I thought at that age, was opera.
My grandad was an opera singer, my uncle a jazz musician; I was a boy soprano in the church choir. But the first performance with Deep Purple was something I'll never forget. All elements were working brilliantly.
I was going to be a singer. If I hadn't been in my profession, I was going to be an Opera singer. That's from a young kid. I had all these records from all those famous Opera singers. I wanted to be an Opera singer - that was my whole thing and physical fitness got in the way, thank God.
The soprano has all those other instruments in it. It's got the soprano song voice, flute, violin, clarinet, and tenor elements and can even approach the baritone in intensity.
My interest in women's voices started when I was in the boys' choir and we were singing in opera choruses. That was my first close-up experience with the female soprano voice. I was amazed at how it could be within the same scale but so different in quality.
I hardly ever belted; I was a soprano and a comedienne and intended on doing mostly soprano legit roles but my first equity show, to my surprise, was Blues in The Night at The Cleveland Playhouse.
What I've discovered and really confirmed to myself is that opera really likes loud colours, and you need something bold, something savage, unpredictable, passionate. You can't really run a two-hour opera round some muted murmuring.
I originally wanted to be an opera singer. I studied classical voice at the University of Washington but soon realised I didn't have the instrument or the discipline. The road for opera singers is more difficult than for actors.
I had four or five years in school training as a soprano. I fell into pop singing because of economics. I got out of high school and had to go work, and they weren't hiring opera singers.
I didn't want to be Nelsons's wife. I wanted to be soprano Kristine Opolais.
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.
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