A Quote by Victor Hugo
In the opera we call love, the libretto is almost nothing.
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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've always loved opera; it never occurred to me that I would write a proper libretto.
Soap opera seems to be a dirty word, but actually they are the most popular shows we have. People want to know what happens next, people hate the villains and love the lovers. It's good, fun TV. But I wouldn't call 'Downton' a soap opera as such.
I wouldnt mind seeing opera die. Ever since I was a boy, I regarded opera as a ponderous anachronism, almost the equivalent of smoking.
I have never called myself an opera singer. Other people do, but I always call myself a classical singer. I'd love to do opera, but I'm still too young and I don't want to do it until I'm ready. I realise that when I do that it's going to be... up for discussion, shall we say, so I want to get it right.
Our life is not given to us like an opera libretto, in which all is written down; but it means going, walking, doing, searching, seeing.... We must enter into the adventure of the quest for meeting God; we must let God search and encounter us.
I love singing opera, but the world surrounding it is not me. I want to be barefoot. I want to be in control of my own career. I want to put on a show. In the opera world, you wait for people to call you until you get to a certain level. In the folk world, it's a lot easier to have control from the beginning.
I don't necessarily make much art myself, but after I wrote 'Warped Passages,' I was fortunate to get involved a little in the art world. I got invited to write a libretto for what we called a projective opera, and I also got invited to curate an art exhibit.
I became a set designer for opera. I'm a great opera buff, I love classical music, and I needed a time-out.
I remember once saying in a television interview that the only things I hadn't been in were the opera and the ballet. Two days later, I got a call from Lord Harewood, of the English National Opera, saying "Would you like to be in 'Ariadne auf Naxos?'"
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.
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.
I get people saying, 'Opera is too large a canvas for me. I don't love it. I love movies that feel almost like documentaries,' in terms of artistic vocabularies of storytelling. I totally get that discussion; that makes sense to me.
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.
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
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