Top 1120 Opera Quotes & Sayings - Page 17

In England, unless I am mistaken, I think some of the politicians who love classical music and opera are a bit loath to be seen there in case people think it is elitist. That is a real shame because it also means we are not allowing our politicians a hinterland that an earlier generation, a Denis Healey, would have taken for granted.

It's more fun to have a name rather than a number. I think this gives our products a personality. I get the names from literature, movies, opera, traveling, nature, poetry, sometimes even the street. I keep a small book that I write in. I wake up in the middle of the night and jot down a name for a lipstick or an eyeshadow.

The pop world is popular, and it's about what the people want and connecting to the masses, whereas opera, although it was once popular - and I still believe it can be - it has become very elitist and intellectual, but that certainly doesn't sell tickets. It's a struggle, but I've always embraced struggle and thrived off of it, so it's the way my life needs to go.

I never learned music. I'm quite uneducated, and usually I sat in front of the TV, with soap operas on, in England. It was very inspiring for me, I'd done all this traveling around, I came back living with my parents, everyone around me was like they're living in a soap opera.

Baseball is the slow creation of something beautiful. It is the almost boringly paced accumulation of what seems slight or incidental into an opera of bracing suspense. The game will threaten never to end, until suddenly it forces you to marvel at how it came to be where it is and to wonder at how far it might go. It’s the drowsy metamorphosis of the dull into the indescribable.

I wasn't the best in my class at the Royal Academy. There was a really good soprano and baritone who were technically better and are doing really well in opera now. But I was definitely the best mezzo-soprano in my class, because I was the only one of those!

Goodness gracious me,” exclaimed Alexia, “what are you wearing? It looks like the unfortunate progeny of an illicit union between a pair of binoculars and some opera glasses. What on earth are they called, binocticals, spectaculars?” The earl snorted his amusement and then tried to pretend he hadn't. “How about glassicals?” he suggested, apparently unable to resist a contribution.

I'm straight and always have been. When our family gets together, we joke about it or throw our hands up in desperation because there is very little we can do. If we make a big fuss about correcting these rumors, it just creates more attention and turns the whole thing into a soap opera.

The sympathies of a well-adjusted person can easily be aroused by the plight of strangers. Indeed, the skillful writer of a novel, a play, or an opera can engage our emotions on behalf of people who are not only strangers to us, but who do not even exist! And a person whose emotions cannot be so aroused is not behaving normally.

I know one thing - very few writers in Southern California get to write what they want to write. We are more or less worker ants, working for either film companies or tv companies or Internet companies. We do a lot of assigned work. Feelings hardly ever enter into it. If they do, they tend to be on a sort of soap opera level.

Does art have a future? Performance genres like opera, theater, music and dance are thriving all over the world, but the visual arts have been in slow decline for nearly 40 years. No major figure of profound influence has emerged in painting or sculpture since the waning of Pop Art and the birth of Minimalism in the early 1970s.

Opera became popular in Texas the same way it did in a lot of previously isolated regions of the nation. It started with money. In the case of Texas, it was oil money, and it made a lot of people very rich, very fast.

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.'

When I was a teenager, I dreamed of being an opera singer like Maria Callas or a jazz singer like June Christy or Chris Connor, or approaching songs with the kind of mystical lethargy of Billie Holiday, or championing the downtrodden like Lotte Lenya. But I never dreamed of singing in a rock-and-roll band.

There is a lot of propaganda about opera singers not being able to act. That's not necessarily true and hasn't been true for a very long time. And certainly there were those instances when singers were told they need to fit into a certain size dress. Of course, women. Men? They just make the costume bigger.

Rather than opera, football is more like ballet or a chess game. You can really see it in a team like Arsenal, especially when Dennis Bergkamp was playing. He seemed to be able to read the game like a chessboard and knew where a player would be several seconds later and put the ball there for him.

The shower is my time to open up my operatic chops, because of the enormous echo. You sound five times as big in the shower, so I break into some "Nessun Dorma" from Puccini 's Turandot or Pearl Jam. You've got to go big when you're in the shower. There's no half-singing in the shower, you're either a rock star or an opera diva.

'Macbeth' is one of the best operas ever, and doing it was a great experience. I added some things to the opera based from my experience on the movie - such as some of the special effects and bits of film - to make it new and interesting. It was a very good work and a very good experience.

Politics, poverty, riches, etc - these are but backdrops for the grand cinema, the opera: the glory of your life. Sure, change the backdrops, make them better, but it is this inside-ness that matters most. Nothing else, at the last breath, matters, but your very own poetry. The glory of living.

I got last-minute rush seats to Baz Luhrmann's 'Boheme,' and my favorite singer, Ekaterina Solovyeva, was playing Mimi that day. My face got burned off when she sang the aria 'Donde Lieta Usci.' The woman was technically sobbing and singing opera at the same time. I don't know how you do that.

In management terms, directing opera certainly prepares you for a film set: the magnitude of it, the experts in other fields that you have to call on. Both are massive ensemble jobs in which there's incredible pressure to get things done on time and on budget - so much so that making the wrong decision may be better than making no decision at all.

The error in the art-genre of Opera consists herein: a Means of expression (Music) has been made the end, while the End of expression (the Drama) has been made a means.

In Hamburg, there are three major orchestras, an opera house, and one of the great concert-hall acoustics in Europe at the Laeiszhalle, in a town a fifth the size of London. And that's not unusual. In Germany, there are dozens of towns with two or three orchestras. The connection with music goes very, very deep.

Disgrace is a subtle, multi-layered story, as much concerned with politics as it is with the itch of male flesh. Coetzee's prose is chaste and lyrical without being self- conscious: it is a relief to encounter writing as quietly stylish as this. I was not totally convinced by Lurie's musical abilities, with regard to his proposed opera, but that is my sole complaint.

I think every American actor wants to be a movie star. But I never wanted to do stupid movies, I wanted to do films. I vowed I would never do a commercial, nor would I do a soap opera - both of which I did as soon as I left the Acting Company and was starving.

Advertising is a business of words, but advertising agencies are infested with men and women who cannot write. They cannot write advertisements, and they cannot write plans. They are helpless as deaf mutes on the stage of the Metropolitan Opera.

New Orleans had a great tradition of celebration. Opera, military marching bands, folk music, the blues, different types of church music, ragtime, echoes of traditional African drumming, and all of the dance styles that went with this music could be heard and seen throughout the city. When all of these kinds of music blended into one, jazz was born.

My mum's an opera singer: I grew up watching her get swept up in music and transform herself into characters. She taught me that music is a lifelong journey, and that with every day and every song and every gig you learn something new.

I remember I had a low point when I was working on a soap opera, 'General Hospital,' five years ago. It was my first real job, and it was so overwhelming. You would work five days a week and have to learn sometimes up to 30 pages of new dialogue a night, then have one take to shoot it all, the next day.

I've had my ups and downs, and I definitely have a sense - in America, especially - that once you've made your mark and gotten your Rolling Stone piece and your Grammy nomination, that they're on to the next piece of meat, and they don't necessarily like to follow the twistsand turns of an artistic career. Throwing an opera at them is something they have to notice. There's nothing subtle about it.

Roy Orbison was one of the genuinely nicest persons I've ever known. With one of the most beautiful voices in the history of recorded music he could easily have had an opera star's ego, but he was one of the humblest, kindest, sweetest human beings to grace this planet. This in spite of the enormous tragedies in his life. A brave, beautiful blessing of a man.

I think I will always feel a special relationship with The Umbrellas of Cherbourg, because for me it was something very, very special. It was a modern opera, and to play the heroine in a film that became such a success at a young age, and learning from him when I was so young and impressionable - really it was one of my most important experiences.

When I did 'Jerry Springer: The Opera,' there was a big fuss, largely centered around the misrepresentation of its content. Had Twitter existed then, that would have been over in a week because people who had actually seen it would have been able to get control of the story through social media.

Baseball is a soap opera that plays out day after day, one that a lot of elderly women watch until the characters and the plot becomes a part of their life. She got to enjoy the personal side of the players. They were her kids. The Braves were her family.

A review of his work: His music soon spread throughout Europe, and he was invited to America were he performed the Piano Concerto. He would have wished that he would be remembered as an opera composer, but it was to be his orchestral extravaganzas, mainly the trilogy of Roman pictures that has made his name famous.

The Opera ghost really existed. He was not, as was long believed, a creature of the imagination of the artists, the superstition of the managers, or a product of the absurd and impressionable brains of the young ladies of the ballet, their mothers, the box-keepers, the cloak-room attendants or the concierge. Yes, he existed in flesh and blood, although he assumed the complete appearance of a real phantom; that is to say, of a spectral shade.

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.

The operas that I do are more in the operetta world, but I've gotten to do them in all of these major opera companies so it's been really wild. And I feel comfortable in that world because I went Cincinnati Conservatory and I hung out with all those kinds of people, I love hanging out with them and I understand them and their "diva-osity."

When you're on a daytime drama you get one page, you better damn well know your character. You better know what she would do in every situation because it's a very, very fast paced business. You do ninety pages a day on a Soap Opera. It's insane. It's such a small world, the soaps. It's all contained in one little studio.

Opera contains music that reflects a culture of poetry and aesthetic. Spirituals are no different. What separates a spiritual for me is that I also happen to love Jesus. When I'm approaching these songs, I'm not approaching them like Mozart. I see my faith and the struggle of my ancestors and of a people seeking freedom beside what these songs are going to be in terms of their arrangement and delivery.

I never listen to music when I am writing. It would be impossible. I listen to Bach in the mornings, mostly choral music; also some Handel, mostly songs and arias; I like Schubert's and Beethoven's chamber music and Sibelius' symphonies; for opera, I listen to Mozart and in recent years Wagner.

I remember vividly seeing 'Tarzan' and Fred Astaire, the Chaplin films, Fred Astaire musicals, MGM, because of my mother. She was just interested in everything and she took me to opera and ballet, and then ballet got me hooked.

I really don't understand because I love opera, because I respect the Michelangelos and da Vincis, that it should be shocking because I am a wrestler. Because I am a wrestler does it mean that I am some kind of a robot who only knows to go into the squared circle and pound on somebody?

some soap opera, you know, real people pretending to be fake people with made-up problems being watched by real people to forget their real problems.

I have the greatest fans. I have fans that come from soap opera world, I have fans that come from superhero world, which are a whole different section of fans. They're so cool.

That is the operatic problem; the singer must keep up a big head of steam while trying to appear secretive, or seductive, or consumptive. Some ingenious composer should write an opera about a group of people who were condemned by a cruel god to scream all the time; it would be an instantaneous success, and a triumph of versimilitude.

When I'm about to train a new opera, I first listen to how Jussi Björling did it. His voice was unique and it's his path that I want to follow. I would more than anything else wish that people compared me with Jussi Björling. It's like so I'm striving to sing.

I took opera lessons. I can't read music to save my life, but I would just copy and get away with it. I think that they thought I could read music, but I can't. I would just listen. It was really me just mimicking. That's one of the reasons I decided I didn't want to do that anymore.

Too often, it is presumed that young people will only like art that they can immediately relate to. Working-class students may be steered towards popular culture like hip-hop, new media and film on the basis that they will find older art forms such as opera or ballet irrelevant.

Boswell, when he speaks of his Life of Johnson, calls it my magnum opus, but it may more properly be called his opera, for it is truly a composition founded on a true story, in which there is a hero with a number of subordinate characters, and an alternate succession of recitative and airs of various tone and effect, all however in delightful animation.

The only thing that really inspired me for singing was the movie and musical 'Phantom of the Opera.' I went to see it in the theaters, and I loved it so much. And when I got home, I started singing the songs around the house, and my mom thought I was really good, so she asked me if I wanted to do a talent competition. And I said, 'Yes, definitely.'

. . . I wrote a letter to Thomas Pynchon asking, Can I have your permission to try to make an [adaptation] of your book? And I had no idea that he would answer me, because he's pretty elusive. But he did send a letter back that said, Yes, you can do that - as long as the only instrument in the opera is a banjo. I thought, That's an interesting way of saying No.

Opera is musical theatre, and the music can teach you so much about the theatre. Very often I use musical terms to think about how I comport myself on stage: I employ 'rubati,' 'ostinati,' 'cadenze.' Finding these parallels is very fascinating for me.

For better or worse, I've always been curious musically. Whether it's opera or Judy Garland or pop, I've deliberately sought those things out. I've never wanted to do the same things over and over. Some think I've accomplished what I set out to do, and others consider me a dilettante.

We did a student-initiated project of 'A Little Night Music', which was the first time that all of the divisions - music, dance, drama, opera - came together and put on a piece. It was a black box kind of feel. We had to get costumes that were pieced together. We had our own lighting that we finagled.

Some people think that culture is overhyped and peripheral. A season of opera is less important than the refurbishment of a school, they say. Leaving aside the poverty of imagination and aspiration implicit in such a sentiment, it also ignores hardheaded economic reality: Britain, and London in particular, makes big money from culture.

I don't necessarily make much art myself, but after I wrote 'Warped Passages,' I was fortunate to get involved a little in the art world. I got invited to write a libretto for what we called a projective opera, and I also got invited to curate an art exhibit.

Robert Duvall taught me years ago. He said, "You know theatre is not real. I don't like plays." You know, he doesn't like plays. And I agree with him in certain ways, you know. They can be fun. I don't mind going to see them. I went and saw Phantom of the Opera. I thought hey, that's cool. Look at the mask and all that.

Most of my escapades were getting my Labrador dog into the back of my car to drive to Brooklyn where I worked at Avenue M Studios shooting a soap opera and battling being a 17 to 18-year-old playing twins being afraid that I was going to get fired, because who wouldn't fire me? I had no idea what I was doing.

In my whole life, I've worn black tie three times. I can't tie the knot myself. Once, at the premiere of the opera, I got to La Scala before Domenico, and I was hiding in the corner until he arrived, and I said, 'Quick, you have to tie my tie, please!' Otherwise, I'll wear a tuxedo jacket with jeans and my bling-bling cross.