A Quote by Zola Jesus
I don't find much influence in opera. It was such a different part of me.
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Opera was an enormous part of my childhood. My parents were both opera buffs, and they met in the box seat of an opera performance. And I also was a boy soprano, so before puberty hit, I was onstage playing a wide variety of orphans and urchins in all sorts of operas, and the sheer melodrama of their stories was just always appealing to me.
My own thinking has evolved. You find Africanisms in American speech. You find an African influence on United States culture. There are all kinds of Africanisms in America, as you would expect, if you really thought about it... That whole thing is much broader; the influence is much broader than I first understood.
That's opera! I just love it. It just thrills me! And it's very different than theatre, and sometimes it can be frustrating because when you come in the first day of rehearsals obviously you're an opera fan, right?
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 find the opera part in 'The Greatest Show on Earth' challenging.
The fact is that at different stages of your life, and under the influence of different inspirations, you write different things. The point is not necessarily to find your voice, which grinds out the same sort of thing again and again, but to find a vehicle for people who are far more important than the author: the characters.
I was very young, maybe five. The opera was very... I was attracted to opera to the point that I think it's the reason I started to write music for films. I never studied. There are film and music school that teach you how to write music. I never studied that. But the influence of opera, which is a combination of storyline, visuals, staging, plus music... that was perhaps the best school I could have had. That's what gave me the idea of coming to Hollywood to write music for films.
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.
Certainly, from where I stand, I'm not a specialist in wildly different walks and voices. But I find as much variation and nuance as what satisfies me in what I do. So, I don't find this particularly different. He has his own peculiarities. You're probably talking about a cluster of Englishmen in suits but I've done quite a big cluster of guys not in suits as well, which I've occupied myself with. So, I don't find that this is the one that stands out.
The influence that Oakland has on my sound is about 90%. There's so many different elements to Oakland. Of course you have the street elements, but then you also have the culture and there's so much culture around. It's a competitive city, it's full of just great artists and talent. It gave me the confidence, the passion, the realness I try my hardest to portray, so it has had about 90% influence on me.
Part of me still feels like I've never had the opportunity to properly express all my earliest influences, so for now, I find isolation to be my biggest influence.
Funny how the world always praises its opera-singers so much and pays 'em so well and then starves its shoemakers, and yet it needs good shoes so much more than it needs opera--or war or fiction.
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.
But, for me, I'm such a complex person with so many different facets and so much depth that asking me the same question twice seems almost unfair to the reader. I'm going to die a mystery already, so you want to find out as much about me as you can while I'm still here.
As a piano player, if 10 is concert level, I'd put myself at a 5 or a 6, but in a completely different genre than classical or opera. In terms of classical and opera, playing accompaniment, I'd say I was a 3.
The name of my first comedy album was 'Raised by Cable.' Coming up and watching all of these weird movies on different channels was such an influence on me and an influence on how I do standup. It informs everything I do.
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