A Quote by Jon Lovitz

But Opera Man, I go, "Oh, crap! Why didn't I think of that?" Because I could sing fake opera pretty good. — © Jon Lovitz
But Opera Man, I go, "Oh, crap! Why didn't I think of that?" Because I could sing fake opera pretty good.
But Opera Man, I go, 'Oh, crap! Why didn't I think of that?' Because I could sing fake opera pretty good.
Well, basically there are two sorts of opera," said Nanny, who also had the true witch's ability to be confidently expert on the basis of no experience whatsoever. "There's your heavy opera, where basically people sing foreign and it goes like "Oh oh oh, I am dyin', oh I am dyin', oh oh oh, that's what I'm doin'", and there's your light opera, where they sing in foreign and it basically goes "Beer! Beer! Beer! Beer! I like to drink lots of beer!", although sometimes they drink champagne instead. That's basically all of opera, reely.
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 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.
Even when I rehearse down in the bowels of the Metropolitan Opera, you can't help but think why The Phantom of the Opera was inspired by what happens in the bowels of the opera house.
I tend to sing opera and showtunes in the shower. I don't know why, but when I get in the shower I turn into this big fat opera lady.
I got into cello in the fourth grade, and I played that for years. I adored playing it. I got an opera coach when I was 12 because I really wanted to learn how to sing properly. The only proper way to sing, I thought at that age, was opera.
The difference between me and, say, the opera critic is that I'm charged with thinking about the world beyond opera. I could go see 'Die Fledermaus', for instance. I've never done any of this, by the way. I've never written about one opera since I've had this job.
We tend to forget that in those days before the Internet and HBO and Imax and 3-D cinema, opera was the thing. Opera and theatre. If you were a man of the world and you mingled among the happy few, you would be at the opera.
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.
Premiering a new opera is probably one of the hardest things in the world to do, and opening nights of any opera are always pretty stressful.
As a child, I was always making sound; it was a compulsion. I loved to scream and yell and sing; it freed me from all the thoughts in my head. I begged for opera lessons because opera singing is the most formidable, most emotional way to use your voice.
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.
And my singing, I don't think I could sing Wagner or opera, but I could probably carry a tune. I was in a musical once, but it was never performed.
The nice thing about doing a pop opera is that, because the convention is set from the beginning that this is an opera and everything is sung, there is never that feeling of "Why is this person bursting out into song?" because the whole thing is sung.
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