A Quote by Ralph Vaughan Williams
The audience is requested not to refrain from talking during the overture. Otherwise they will know all the tunes before the opera begins.
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The Verse-Refrain form starts with a context before the topic that the Refrain is talking about happens.
Yeah I do and I don't mind, in fact that is one of the real encouraging things about this whole career of mine is that there are tunes I wrote almost thirty years ago that I will still play in front of an audience and I still like the old tunes.
When will talkers refrain from evil speaking? When listeners refrain from evil hearing. At present there are many so credulous of evil, they will receive suspicions and impressions against persons whom they don't know, from a person whom they do know--an authority good for nothing.
No affair that begins with such an orchestrated overture can end on a simple note.
An opera begins long before the curtain goes up and ends long after it has come down. It starts in my imagination, it becomes my life, and it stays part of my life long after I've left the opera house.
An opera singer is like an athlete before a match. An athlete cannot overdo anything. In order to perform at the highest possible level, you need to refrain from activities so as to be able to express this power.
Even when other powers have been lost and people may not even be able to understand language, they will nearly always recognize and respond to familiar tunes. And not only that. The tunes may carry them back and may give them memory of scenes and emotions otherwise unavailable for them.
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.
The Indian audience is so passionate, they know all the tunes and love to party. The atmosphere is always electric.
The artist should paint not only what he sees before him, but also what he sees within him. If, however, he sees nothing within him, then he should also refrain from painting that which he sees before him. Otherwise, his pictures will be like those folding screens behind which one expects to find only the sick or the dead.
I do catch myself driving around singing tunes, but I don't know if it's necessarily show tunes.
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 do very few standards. Hardly any. Other people's tunes that I do are usually obscure tunes, for the most part, although I do a couple of Duke Ellington tunes that are well known.
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.
The audience today has heard every joke. They know every plot. They know where you're going before you even start. That's a tough audience to surprise, and a tough audience to write for. It's much more competitive now, because the audience is so much more - I want to say sophisticated.
The audience today has heard every joke. They know every plot. They know where you're going before you even start. That's a tough audience to surprise, and a tough audience to write for. It's much more competitive now, because the audience is so much more - I want to say 'sophisticated.'
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