A Quote by Walther Funk

I can spot a musical type. I can tell by looking at a woman whether she is a contralto or a soprano. — © Walther Funk
I can spot a musical type. I can tell by looking at a woman whether she is a contralto or a soprano.

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Every woman is multifaceted. Every woman has a switch, whether she's going to be maternal, whether she's going to be a man-eater, whether she has to kick ass, whether she has to be one of the boys, whether she has to show the guys that she's just as smart or smarter, she's just as talented or creative. Women suppress a lot of their sides.
I think I have got a peculiar voice really, it neither one thing nor the other. It's not a contralto and it's not a mezzo soprano; it's a nothing voice really.
The extraordinary woman depends on the ordinary woman. It is only when we know what were the conditions of the average woman's life - the number of children, whether she had money of her own, if she had a room to herself, whether she had help bringing up her family, if she had servants, whether part of the housework was her task - it is only when we can measure the way of life and experience made possible to the ordinary woman that we can account for the success or failure of the extraordinary woman as a writer.
If you talk to a woman, she will give you at least five incidents in a day, 5-10 in a month, where she had to work harder to prove herself because she is a 'woman,' maybe at a male-dominated work place or when she has to come across as a smarter woman if she is good-looking.
Everything has become so pop-rock oriented that finding a role for a soprano, and finding an audience for a soprano, is tricky. Unless you're dealing with a revival, which is why I do so many revivals - because my specific tone and vocal quality lends itself to that type of writing.
No woman should have a memory. Memory in a woman is the beginning of dowdiness. One can always tell from a woman's bonnet whether she has got a memory or not.
I'd love to tackle a classic Shakespeare play or take on Nora Helmer in 'A Doll's House.' Musical theater, it's the classics like Rodgers and Hammerstein and Cole Porter's 'Kiss Me Kate.' I'm much more a Julie Andrews-type soprano than an Idina Menzel.
Whether it's animated, whether it's live-action, whether it's Broadway, whether it's television, a musical is a musical is a musical. So, pretty much, you approach the songs in pretty much the same way.
A man cannot tell whether a woman is in love with him or his security blanket until she is financially and psychologically independent enough to leave. Until a woman has learned how to leave, even she cannot be sure she has learned to love.
An inconstant woman is one who is no longer in love; a false woman is one who is already in love with another person; a fickle woman is she who neither knows whom she loves nor whether she loves or not; and the indifferent woman, one who does not love at all.
The soft contralto notes of a woman's voice are born in the immediate region of the heart.
She was looking into my eyes with that way she had of looking that made you wonder whether she really saw out of her own eyes. They would look on and on after every one else's eyes in the world would have stopped looking. She looked as though there were nothing on earth she would not look at like that, and really she was afraid of so many things.
I like woman who doesn't necessarily care if other people like her. She is she who she is and figures people can take it or leave it. What I do like is a woman who has the guts to tell exactly as she feels. It's not appealing when a woman dresses to please a man. It's way more attractive if she has her own distinct style and wears what she feels best in.
I'd done a drawing of the model using only peripheral vision, looking at a spot on the wall to the right of where she sat. It wasn't really a drawing of her I produced; it was a drawing of the cloud of lights and darks she dissolved into when I focused on the spot. You could look at my drawing of this cloud and read it as a nude female figure, though a little translation was required.
The music department is going to do a musical next year," he tells me, rolling his eyes like I would. Justine is running toward me, and I can tell by the look on her face that she's found out about the musical, too. I sigh, shaking my head. "I have to give Justine a lesson in holding back," I tell him. "She's just way too enthusiastic". She grabs my arms in excitement. "We're doing Les Mis." I scream hysterically, clutching her as we jump up and down.
If the press see you looking normal they can suddenly be 'oh, she's got a spot on her face, she's having a bad day'. That can be quite cruel.
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