A Quote by Julie Taymor
I think that both musicals and opera have a capacity to get to an inner emotional landscape.
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Opera Australia has a mix - it produces new work, it produces from the classical repertoire and, particularly in more recent years, it's done those blockbuster musicals which are very lucrative for it and reach an audience that classic opera or a new opera perhaps wouldn't reach, like South Pacific for example.
The Criteria of Emotional Maturity: The ability to deal constructively with reality The capacity to adapt to change A relative freedom from symptoms that are produced by tensions and anxieties The capacity to find more satisfaction in giving than receiving The capacity to relate to other people in a consistent manner with mutual satisfaction and helpfulness The capacity to sublimate, to direct one's instinctive hostile energy into creative and constructive outlets The capacity to love.
My view is that musicals are love stories with great final scenes. It's just that simple. Musicals are also conflicts between two worlds. And by those criteria, 'The Color Purple' is actually exactly the kind of story that makes for a great musical. Yes, it's got hard stuff in it, but so does 'Les Miserables' and 'Phantom of the Opera.'
One of the problems with musicals and opera is you can't ever hear all the words.
I am under no illusion that I will ever be the greatest opera composer in the world, with Wagner and Verdi and Strauss before me. I think my work could fit very nicely into musicals, though.
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.
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.
I love movie musicals because I think there is an amount of emotional honesty that's needed to portray someone who feels so deeply that all they can do is break into song.
I think the reason that swearing is both so offensive and so attractive is that it is a way to push people's emotional buttons, and especially their negative emotional buttons. Because words soak up emotional connotations and are processed involuntarily by the listener, you can't will yourself not to treat the word in terms of what it means.
The only way to stave off boredom, in a complex domesticated primate like humankind, is to increase one's intelligence. This is not appealing to the average primate, who instead invents emotional games (soap opera and grand opera dramatics).
I'm very interested in cinema that explores emotional journeys and where you can use everything at your disposal cinematically to locate you inside someone's head and their emotional landscape.
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 was fortunate enough to work at the peak of the great golden age of musicals. And then for awhile, I think they were being advanced in different ways. Andrew Lloyd-Webber brought the rock beat to musicals; people tried different things. The joy of musicals is that there is no perfect recipe; it is what you throw into it.
We have little control over the outer weather patterns as we make our way through the landscape of a life. But we can become masters of the inner landscape. We can use what happens on the outside to change the way we function on the inside.
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.
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