A Quote by Victoria de los Angeles

But I think it is more difficult to do a career as a lieder singer, and there have been less lieder singers. — © Victoria de los Angeles
But I think it is more difficult to do a career as a lieder singer, and there have been less lieder singers.
Well, the teacher I studied with for nineteen and a half years was a man named Paul Gavert. He was a great lieder singer, so basically I'm a trained lieder singer because of that teacher. The teacher I currently study with - since 1995 - is Joan Lader, who also studied with Gavert.
Well, the teacher I studied with for nineteen and a half years was a man named Paul Gavert. He was a great lieder singer, so basically Im a trained lieder singer because of that teacher. The teacher I currently study with - since 1995 - is Joan Lader, who also studied with Gavert.
I studied voice at Yale with Blake Stern from the music school, and he had me singing German lieder and Italian songs.
In the hierarchy of instruments, if you're a harpist, you're considered someone with a brain much more than if you're a singer. Even though singers, particularly singers who can play piano... If you go to the office of career development, you can get a gig much easier. Still, musicians tend to look down on you. I think they've got some nerve, because if they could sing, they would do it, but most of them can't.
My favorite singers in the world have been black singers, and you can go to any church and hear the best singers in the world - and I'm a singer, and I love singing!
...in my lieder concerts, I always strove, when possible, to sing only the works of a single composer, so that the audience could be gradually drawn into a particular creative genius' way of thinking, and could follow him.
Which is why, in my lieder concerts, I always strove, when possible, to sing only the works of a single composer, so that the audience could be gradually drawn into a particular creative genius' way of thinking, and could follow him.
I listen to lots of music, especially Bach, opera (all periods), German lieder, chamber music, and rock, old and new. I can't listen to music while I write. It's too absorbing.
I don't like traditions, I am very personal, very independent, I don't like intimate ladies, I mean in German lieder there's a lot of copy, a lot of imitation, a lot of tradition, and this I have put it aside.
We call out-of-tune singers as 'Aurangazeb singers.' I wouldn't say I'm as bad as an 'Aurangazeb singer,' but I'm definitely no singer.
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.
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.
I feel there are tone singers, and there are more vocal gymnastics singers. And I think that's amazing when people can do that, but I think there's room for the tone singers. And there aren't a lot of them.
Every good gospel singer you can hear is a scat singer; they're just using different syllables. There are a lot of jazz singers out there, and more coming out of the churches.
I think the 'R&B singer' title came from me entering the business at a time when R&B chick singers were the trend. I was fine with that, but I have a lot more to offer.
I just became obsessed with looking for new singers, unknown singers, people that maybe have been forgotten, and really checking them out and analyzing what they do - and obsessive listening. I think that's the core of my work on music - has been just listening to things and listening to singers.
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