A Quote by Tim Rice

One of the problems with musicals and opera is you can't ever hear all the words. — © Tim Rice
One of the problems with musicals and opera is you can't ever hear all the words.
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 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.
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 am under no illusion that I will ever be the greatest opera composer in the world, with Wagner and Verdi and Strauss before me. I think my work could fit very nicely into musicals, though.
My view is that musicals are love stories with great final scenes. It's just that simple. Musicals are also conflicts between two worlds. And by those criteria, 'The Color Purple' is actually exactly the kind of story that makes for a great musical. Yes, it's got hard stuff in it, but so does 'Les Miserables' and 'Phantom of the Opera.'
The words of musicals were the moral codes that I lived by. I found meaning and messages in musicals that I didn't find in churches or school books and it really made me come alive in a way.
I began by listening to my mother's collection of Amelita Galli-Curci and Lily Pons records, and then was taken (at age eight) to hear Pons at a Met performance of Lakme. It was at that moment that I decided to become an opera star. Not just an opera singer, but an opera star!
I think that both musicals and opera have a capacity to get to an inner emotional landscape.
I think I've been influenced by everything I've ever heard. The first thing I ever heard was my grandma, who was an opera singer. The first song I ever learned was the 'Nessun Dorma' from Puccini's 'Turandot.' My father was a big band singer, so I used to hear him walking around the house singing standards all the time.
There are no large-scale original musicals being made right now. They're all Broadway adaptations and jukebox musicals or catalog musicals, and they just don't interest me as much.
I wouldnt mind seeing opera die. Ever since I was a boy, I regarded opera as a ponderous anachronism, almost the equivalent of smoking.
You ever hear a dog cry, Steve? You know, howling so loud it's almost unbearable?' He nodded. 'I reckon they howl like that because they're so hungry it hurts, and that's what I feel in me every day of my life. I'm so hungry to be somethin' - to be somebody. You hear me?' He did. 'I'm not lyin' down ever. Not for you. Not for anyone.' I ended it. 'I'm hungry, Steve.' Sometimes I think they're the best words I've ever said. 'I'm hungry.
The number of opera houses around the world and the high attendance rates show that opera an art form that is more popular than ever.
It's much easier to identify and fix problems in language and timing when you hear the words being read.
I love musicals; I love the ballet, opera, the circus. It's all performance to me.
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