A Quote by Robert Davi
I trained with a guy named Tito Gobbi, who was the Marlon Brando of the opera world. Tito Gobbi was the greatest singing baritone in the opera world and I studied in Florence, Firenze, with him. That was my first love, as it was Frank Sinatra's, oddly enough.
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It didn't feel organic and [Tito] Gobbi was one of the artists that was able to, along with Maria Callas, incorporate not just the sound, but the emotion, the technique of the singing.
I remember the first time I fought somebody with a name and that was Tito Ortiz. I didn't start fighting until like the second round because I was like, 'Oh my God, that's Tito Ortiz. That's Tito Ortiz from TV. Look how big his head is, damn.'
I love singing opera, but the world surrounding it is not me. I want to be barefoot. I want to be in control of my own career. I want to put on a show. In the opera world, you wait for people to call you until you get to a certain level. In the folk world, it's a lot easier to have control from the beginning.
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.
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.
Being a New Yorker, I used to dance to Latin music. There was a place called the Palladium on Broadway. And Tito Puente and Tito Rodriguez used to play. So I still have that in my blood.
I've always gravitated towards opera, and the Royal Opera House is quite possibly the greatest opera house on earth.
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.
When you talk about the world's greatest entertainer you have to say Al Jolson because there was no one like him. Only Judy Garland and perhaps Frank Sinatra got anywhere near him!
Tito Santana was one of the hardest working guys in the business. When Tito used to make that comeback, the people went crazy because he had so much fire. He had so much damn energy. He could just go and go and go.
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.
I was in a movie with Marlon Brando. Now, I didn't have any scenes with Marlon Brando, but I had scenes with Martin Sheen and was around Dennis Hopper, who was a child actor in the studio system and was enamored of James Dean, as was Martin, and they were all sort of disciples of Brando.
Opera is when a tenor and soprano want to make love, but are prevented from doing so by a baritone.
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 studied classical opera, so I was always singing in Italian and German and French.
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.
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