Top 1200 Opera House Quotes & Sayings

Take opera for example - to go to the opera you have to dress up in a tuxedo and pay lots of money.

My father was a welder on the second-highest sail, so the Opera House has a special place in my heart.

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 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.

Satyagraha is an opera which I wrote for the Netherlands Opera, so it uses an orchestra of around fifty, a chorus of forty, and there are about seven soloists. The opera ... Satyagraha means truthful, so it was a name [Mahatma] Gandhi used to describe his civil disobedience movement.

The Opera House guidelines have from time to time been amended, whether it's for other sporting events or other causes. The guidelines have always been stretched in the part and the commercialisation of the Opera House has always been there.

I can go from one extreme to another, from playing at the Sydney Opera House on the Songbook tour to shows with Soundgarden at Voodoo Fest, all in a week.

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'm from a small Irish family of 10, so there always was music in the house. Growing up, my older sisters had things like 'South Pacific' and opera on.

A great opera house isn't run by a director, but by a great administrator.

I've never been to the opera; I've only seen opera on DVD.

An opera begins long before the curtain goes up and ends long after it has come down. It starts in my imagination, it becomes my life, and it stays part of my life long after I've left the opera house.

I'd love to come to Australia. I'd love to walk about the Sydney Opera House.

They crested a rise, and there it was, in the hollow between rolling hills—a low, square building, ghostly gray in the moonlight. "Is that it?" asked Hamilton. "It probably isn't the local opera house," groaned Ian.

I wouldnt mind seeing opera die. Ever since I was a boy, I regarded opera as a ponderous anachronism, almost the equivalent of smoking.

I don't think an opera house is ever a place that can make you entirely happy.

My mother was into opera and my father was into jazz, so there was a lot of jazz in the house where I grew up.

I tell you, it is easier to build a grand opera or a city center than to build a personal house.

Rock pools, so-named because they have been hammered out of rocks at the ocean's edge, are one of Sydney's defining characteristics, along with the Opera House and Harbour Bridge, though not as well known.

The opera is to music what a bawdy house is to a cathedral.

The only thing worse than opera is someone who hums along with opera.

When you work on a soap opera, that's three years of you working every day. There was no time to do anything other than the soap opera - you're locked in.

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.

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 grew up with singers. My father's mother sang opera. My dad was a big band singer. I can't remember a time there wasn't music in the house, so I grew up listening to great songwriters - George Gershwin, Cole Porter - and my grandma was playing opera for me before I was 3.

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.

Well, opera began with an intent to resuscitate Greek drama, that is, modern opera as we know it.

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.

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.

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.

TREE HOUSE A tree house, a free house, A secret you and me house, A high up in the leafy branches Cozy as can be house. A street house, a neat house, Be sure to wipe your feet house Is not my kind of house at all- Let's go live in a tree house.

I was going to be a singer. If I hadn't been in my profession, I was going to be an Opera singer. That's from a young kid. I had all these records from all those famous Opera singers. I wanted to be an Opera singer - that was my whole thing and physical fitness got in the way, thank God.

But Opera Man, I go, "Oh, crap! Why didn't I think of that?" Because I could sing fake opera pretty good.

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 began by listening to my mother's collection of Amelita Galli-Curci and Lily Pons records, and then was taken (at age eight) to hear Pons at a Met performance of Lakme. It was at that moment that I decided to become an opera star. Not just an opera singer, but an opera star!

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.

Opera needs a major makeover; the large opera houses are too in thrall to their conservative patrons.

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.

Wednesday a junior came to me, and told me I was to be hazed as I left the Opera House Friday night.

I became a set designer for opera. I'm a great opera buff, I love classical music, and I needed a time-out.

I have a lot of projects I get asked for, but the opera house really is my house - my home. It's where I feel comfortable and confident and I get to explore these big human stories and dramas and collaborate with extraordinary people, great talented artists and administrators and other people who are passionate about it and support it. It's like working with a great big family - the family you love and enjoy being with all the time.

Misery loves company. This is a Hollywood soap opera, and I'm not going to be a star in another Bryant soap opera.

Opera was the cinema of its time, so to bring back that popular appeal, you just need to unleash its visceral immediacy and excitement. Most productions don't manage that - but when an opera does do it, you never forget it.

Americans, they have an incredible operatic tradition: the Metropolitan Opera House is - if not the most prestigious - one of the most prestigious opera houses in the world for over 100 years.

I'd go over to my grandmother's house, and she'd be playing opera. They loved opera. Not only did they play it on the radio, but they played it on their piano. Everybody learned how to read music and how to play.

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.

Poetry is all I write, whether for books or readings or for the National Theatre or for the opera house and concert hall or even for TV.

But Opera Man, I go, 'Oh, crap! Why didn't I think of that?' Because I could sing fake opera pretty good.

The number of opera houses around the world and the high attendance rates show that opera an art form that is more popular than ever.

I loved singing. But can you imagine my voice in an opera house?

We used to have front-row seats for the Grand Opera House pantomime every year, and once the dame May McFettridge got me up on-stage.

I was an acting opera singer, and that's one of the reasons I left opera.

At the moment I'm enjoying a new challenge at the Royal Opera House, but I'm also keen to pursue my interest in television and particularly in science.

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.

It was the late '70s when my parents met. My dad was a lighting director for a soap opera, and my mom was a temp at the studio. They moved into a house in The Valley in L.A., to a neighborhood that was leafy and affordable.

I've always gravitated towards opera, and the Royal Opera House is quite possibly the greatest opera house on earth.

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.

Order in a house ought to be like the machinery in opera, whose effect produces great pleasure, but whose ends must be hid.

One of my first memories is running up and down the theatre at Wakefield Opera House.

I think that opera in Europe is 30 years ahead of America. There is a broader range of material presented to the public. They value contemporary opera.