A Quote by Nina Arianda

I had a year at 3 when I wanted to be a conductor in the opera. — © Nina Arianda
I had a year at 3 when I wanted to be a conductor in the opera.
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.
My mother was an opera singer and my father is a clarinet player, composer and conductor.
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.
You know as I started as a shy young conductor, I always wanted to cooperate. To build up the musicians. To help them to be better than without a conductor. And sometimes young talented musicians have to be encouraged.
In high school, we had a really great jazz program that I finally was able to be a part of. They only wanted instrumentalists; they didn't want any singers. But I made my way in, and I remember the conductor of the band wrote a lot of arrangements and asked me what I wanted to sing.
I prefer it when the conductor follows me. It is more difficult to work with a conductor who does not listen - even if I understand that sometimes it makes sense when one person is ruling everything. But for bel canto, I have to have a conductor who listens and supports me.
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.
The most important thing for the conductor is that he or she listens. Her listening will make things sound a certain way. If the conductor listens well, the musicians listen each other better. The conductor can in effect impose a certain kind of listening for everybody.
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.
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.
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.
A man gets on a train with his little boy, and gives the conductor only one ticket. 'How old's your kid?' the conductor says, and the father says, 'He's four years old.' 'He looks at least twelve to me,' says the conductor. And the father says, 'Can I help it if he worries?
For me, the most enjoyable type of singing is opera. It allows you to move, to wear a costume ... to do something with your body. When singing in concert you have to stand up in front of the audience, next to the conductor, which is less natural.
For me, the most enjoyable type of singing is opera. It allows you to move, to wear a costume... to do something with your body. When singing in concert, you have to stand up in front of the audience, next to the conductor, which is less natural.
Under the Barack Obama rules, if you wanted to help the military, if you wanted a pay raise for the soldiers, if you wanted to buy new airplanes and new ships and more munitions, a dollar for that, you had to have a dollar domestic spending. We just broke that parity. That's the biggest victory we could have had: $25 billion year over year for our military, to begin to rebuild our military, without that kind of corresponding increase in domestic discretionary spending.
The orchestra confides in me about their music director or their conductor, and I've never seen a conductor that's been liked by everyone.
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