A Quote by Robert Wilson
I think that opera in Europe is 30 years ahead of America. There is a broader range of material presented to the public. They value contemporary opera.
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The performances of my works in the last 10 years are probably equal to all the previous years put together. There are so many venues now and there is a completely new public for opera that's grown up outside of the traditional core opera public.
I was interested in opera and it seemed to me that the only possible theatre for contemporary opera would be television. So I started working towards a kind of television kind of opera.
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'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.
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.
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.
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.
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.
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've always gravitated towards opera, and the Royal Opera House is quite possibly the greatest opera house on earth.
I never socialized with singers. It's very dangerous if you work with opera... I don't think that in 30 years a singer has entered my apartment.
But Opera Man, I go, 'Oh, crap! Why didn't I think of that?' Because I could sing fake opera pretty good.
But Opera Man, I go, "Oh, crap! Why didn't I think of that?" Because I could sing fake opera pretty good.
When you work on a soap opera, that's three years of you working every day. There was no time to do anything other than the soap opera - you're locked in.
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