Top 1200 Opera Singer Quotes & Sayings - Page 3

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 wife was an opera singer, you know. She bellowed her way through Wagner as a Valkyrie. I married her and made her give up the theatre, to my eternal cost. She was to go on acting for myself alone. A performance at his own expense, lasting for more than twenty years, tends to wear out your spectator.

I was never really interested in an operatic post, but I took on the Bastille because it seemed a unique opportunity to build an opera ensemble from scratch, and to deal with all the disciplines that go into opera - the music, the staging and the singing - in an interrelated way.

My mother is a singer, still performs today; she's a jazz singer.

The Metropolitan Opera, of course, is the gold standard in opera. The Met experience includes the huge stage, the vast audience, the elaborate sets. Anyone who saw 'Faust' there - I did - knows exactly what hell is like, complete with fire, smoke and terror.

I never breathe through the nose, not when I'm singing. In the opera, you don't have so much time. That's fine at the beginning of an opera or after somebody else has been doing an aria, and you want to get a good fresh start.

If you approach an opera as though it were something that always went a certain way, that's what you get. I approach an opera as though I didn't know it.

I was attracted to opera when I was 15 or 16. A very rich man in England bankrupted himself to put on a lot of opera during the war, but he converted a lot of people, myself included, in the process.

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 first job was when I was eight. I did this opera, which was a Robert Wilson/Philip Glass opera, called 'White Raven.' That was a very confusing and trippy creation tale, and I was a kid who brought up the sun and rotated the earth. It was very empowering.

I'm saying that she (Whitney Houston) looks great for a singer... the way Courtney Love is a singer.

The opera always loses money. That's as it should be. Opera has no business making money.

I want tap to be something danced in arenas. Sort of like a rock group. Other art forms happen every night. Take theater, opera; there's always opera happening every night.

One of the first things I created was music for the Paris opera's ballet troupe. That was the first time that electronic music was played at the opera. I really like the relationship between the music and the choreography.

I remember once saying in a television interview that the only things I hadn't been in were the opera and the ballet. Two days later, I got a call from Lord Harewood, of the English National Opera, saying "Would you like to be in 'Ariadne auf Naxos?'"

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).

Artie is a singer, and I'm a writer and player and a singer. We didn't work together on a creative level and prepare the songs. I did that.

And Carolina will be cheering on the beautiful daughter of Magda and Shalom Singer, the new Lady America Singer!

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.

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?

It's easy for a singer to sometimes pick up on another singer's sound, but that's just copying.

I'm a country singer, and I'm comfortable with that. But why does a country singer have to play only on country radio or a rock singer only on a rock station? I still don't understand why it's that big a deal.

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.

If you're a lead singer, then you can't afford to be sensitive. On stage, everyone looks at the lead singer, even if you don't want them to - in America, they have those massive follow spots on you all the time; it does your head in. So, if you are a lead singer and you don't toughen up, you're in the wrong job, and you have to get out.

I didn't really like opera. I liked cheerleading and boys and, later, smoking. So my opera career was cut short when I was 15. My dad got sick, and we couldn't afford the lessons, so I stopped and became a cheerleader and wrecked my voice.

I'm not a jazz singer, blues singer or country singer. I'm a singer that can sing rhythm & blues, that can sing jazz, that can sing country. There's a big difference. In other words, I'm not a specialist.

I've never thought of myself as a singer anyway. . . I've been free from those considerations because so many people over the years told me I don't have a voice. I kind of bought that. I never thought that much about it to begin with. I knew I didn't have one of the great voices. As my Damon Runyanesque lawyer used to say, "none of you guys can sing. If I want to hear singing, I'll go to the Metropolitan Opera."

I just adored Peter Medak, the director. He's such a character, but he was so much fun. Some directors come in and they truly get angry about things.Peter was still in a fantastic mood. He's a delightful person. He threw a big party at the end of the pilot, which was so sweet. And his wife is an opera singer. He's just a very warm, crazy beautiful individual.

I was raised on piano and saxophone and jazz music for ten or twelve years. Before I even picked up a bass. My whole family has always pushed the arts, you know? My brother is a doctor of music and my cousin is an opera singer over in Austria. Arts were always a big thing in our family.

I was trying to make my name just Artist in the beginning, but it was weird at first, because I wasn't an R&B singer or nothing. Not an R&B singer. I didn't do no melodic songs, none of that yet.

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.

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.

For me, the singer is actually the most important element. When I work with someone, it all comes down to whether I like the singer or not.

I used to want to be a backup singer. Not a lead singer, because I really can't sing.

I still the love classic period, but also the baroque period, and even 17th-Century music such as the music of Monteverdi. He's one of the greatest opera composers. He was the one who really started the opera.

Soap opera seems to be a dirty word, but actually they are the most popular shows we have. People want to know what happens next, people hate the villains and love the lovers. It's good, fun TV. But I wouldn't call 'Downton' a soap opera as such.

Before I was 14, I wanted to be a singer, an actor, or a hockey player. By 15, I knew I was going to be a singer.

I don't feel like God called me to be a Gospel singer. He didn't call me to be a Christian singer, he called me to be a country singer, and I just happen to be a Christian.

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 don't feel like God called me to be a gospel singer. He didn't call me to be a Christian singer; he called me to be a country singer, and I just happen to be a Christian.

I love 'Threepenny Opera'; I was exposed to it as a little kid because my parents, my mom and my dad, had bonded, when they were dating, over 'Threepenny Opera' and introduced it to me, a child, who could barely understand it. But I immediately gravitated even from that early age.

As a professional singer, I want to be remembered as a singer with her own distinctive color, both by the public and the people in the industry, during and at the end of my career.

I walked out of the theater and started crying. My wife asked me, 'Why are you crying?' I said, 'Because I can't do that.' I didn't know how he did it. I've never seen anything like that. It's like this feat, this Rodin sculpture to me. It's like hearing an opera singer and the tears go down your face because it's not human what they're doing. It's like sounds of heaven.

I was keenly aware that I didn't want to draw on too many typically doomed aspects of the fated singer. Whether it's Judy Garland or Norma Desmond, there is this tragic quality to older women that one can revel in, and you want it to be more three-dimensional than that. So it was important for the character to be strong and resilient, because there are so many victims in opera.

I like the idea of people coming to opera for the first time and finding it an enjoyable experience. I don't like the fact that opera is seen as elitist and all black ties and that stuff.

It's kind of great being a group without a lead singer, because the possibilities are sky high. Odd things become the lead singer, noises become the lead singer. It actually makes the thing much more flexible.

My goal was to become a 'good singer' rather than a 'different singer.'

I'm not a folk or jazz singer, more a hard-edged pop singer - with some rock, and song hooks.

As a young singer, a record company wanted me to be a rock singer. I told them I couldn't because I didn't understand the music.

I go to the opera. It's mostly my wife that's a bigger fan, I'd say, than I am. I like the big opera. I want a lot of people on stage, elephants and marching stuff, and the modern stuff I don't care for.

Lisa Gerrard from Dead Can Dance is my favorite singer as a singer - so I'm really widely spread open with music choices.

I didn't grow up imagining myself as an opera composer. Only once in my entire adolescence did I attend an opera. I went and saw Aida at the old Met, didn't understand a thing about it, and thought it was pretty awful. But I think I had it in my genes without even realising it.

All I've ever wanted to do is master my craft. I'm a singer, and I want to be a great singer.

Even though I'm a pop singer, I really have more the life of a country singer.

you know...uh I'm a singer... pop singer... i'm white

When I am on the opera stage, I am playing someone else. In recitals, I even have the chance to talk to the audience, which is something you don't get to do in opera.

Games get a bad press compared with, say, opera - even though they're obviously better, because no opera has ever compelled an audience member to collect a giant mushroom and jump across some clouds.

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 studied with Stella Adler and I didn't like the representational aspect of most opera singers. Most of the opera singers had not a false, but over theatrical way of presenting.

The performances of my works in the last 10 years are probably equal to all the previous years put together. There are so many venues now and there is a completely new public for opera that's grown up outside of the traditional core opera public.