Top 135 Wagner Quotes & Sayings - Page 2

When I was about 19, my stepmother said - because this was back in the '80s - that I had Robert Wagner's pompadour. I said, 'What are you talking about? You mean the guy from 'Hart to Hart?'

What terrible harm Wagner did by interspersing his pages of genius with harmonic and modulatory outrages to which both young and old are gradually becoming accustomed and which have procreated d'Indy and Richard Strauss.

I know some Australian players who were at Dortmund when he was there and found out about him. Wagner is a leader and makes all the decisions, but of course the players have to perform and deliver what he wants.

Wagner had a terrific understanding of politics. In 1829, he was a Marxist revolutionary who wanted to bring down the establishment. He hated religion and churches, which he said enslaved people. But he later developed different views that put art at the centre of the life of the state.

I was at a banquet, and I went into the ladies' room, and I'm in the stall doing my business, and a piece of paper and pen came from outside the door, and she says, 'Ms. Wagner, would you please sign this for me?' And I said, 'Are you kidding me?'

Beethoven, Wagner, Bach, and Mozart settled down day after day to the job in hand. They didn't waste time waiting for inspiration.

If Richard Wagner lived today, he would probably work with film instead of music. He already knew back then that the 'Great Art Form' would include a sort of fourth dimension; it was really film he was talking about.

Ah! My dear friend painting is to us what the music of Berlioz and Wagner was before us - a consolatory art for sore hearts! And yet there are only a few like you and me who feel it!!!

I love Italian opera - it's so reckless. Damn Wagner, and his bellowings at Fate and death. Damn Debussy, and his averted face. I like the Italians who run all on impulse, and don't care about their immortal souls, and don't worry about the ultimate.

Sometimes I have the feeling that you are not quite aware--and this honors you--of the historical greatness of your position, that you think too modestly about yourself. Everything you do is destined to be of historic significance. One day, your letters, your decisions, will belong to all mankind, like those of Wagner and Brahms.

I think sometimes when you speak about something like 'Indian classical music' and 'ragas,' and all of that's new to people, it can be quite intimidating, in the same way that I have sometimes found opera and Wagner intimidating - one doesn't know where to begin sometimes.

When I'm alone at home, I really prefer to listen to Wagner's orchestral music rather than any vocal music. I find it illuminating not to have to pay attention to voices in the recordings.

With these big Wagner pieces, if I haven't started three years before, I'm screwed. You need time to look at the piece again and again and again, and then, like some fantastic casserole or spaghetti sauce, put it back in the fridge and let the flavours get together.

I don't know if you've ever seen this film called Elite Squad, which, actually Wagner [Moura] is the one narrating that. José Padilha, one of creators of our show, that's where the style comes from. It has a heavy narrator. But I thought about it a lot. You [the viewers] have to work for the show, unless you're bilingual. It's a really aggressive type of filming, it's engaging, you've got to read.

In his late quartets, Beethoven introduces an element that shouldn't be there, that should be left for meditation, though I love them. I can see that through them came Wagner and Mahler and Schoenberg and Berg. And then came Tracey Emin. And I can see it all as one downward path.

I cannot work and listen to Wagner at the same time, nor Mahler, nor Beethoven's late quartets. I enjoy listening to Chopin's piano music when I work.

When I was a kid, I looked at art as a way of blending everything. One of my favorite composers is Wagner - who coined the term "gesamtkunstwerk," or "total art work." That's what was going on in the 19th century, and the 20th century just kept it going.

Renaissance cowboy/raconteur Pop Wagner ...deadpan funny ...his presence is like meeting Woody Guthrie and Will Rogers riding a single, many colored horse. Pop is a kind of 'textile genius' who is able to spin, at once, both yarn and rope.

The first typical adolescent of modern times was Wagner's Siegfried. : the music of Siegfried expressed for the first time that combination of (provisional) purity, physical strength, naturism, spontaneity and joie de vivre which was to make the adolescent the hero of our twentieth century, the century of adolescence.

Wagner is contrapuntal in a philosophical way as well as a musical way. What I mean by that is that every tendency has its opposite, and you see that in the man himself. He's a metaphysical hermaphrodite - he embraces hard and soft, masculine and feminine.

In the heart of the Great Depression, millions of American workers did something they'd never done before: they joined a union. Emboldened by the passage of the Wagner Act, which made collective bargaining easier, unions organized industries across the country, remaking the economy.

You look at someone like Neil Wagner - he's got a big heart, a big engine, and keeps running. And that's what you want, you want guys who, time and time again, want to be putting themselves in that position, to keep wanting to create chances and keep trying to change the game.

Peter Wagner, my son, just won the Bel-Air Junior Club Championship. Parred the last three holes. One-putts, up and down. Us Wagners don't hit greens. We chip and putt.

I hate you, Richard Wagner . . . but I hate you on my knees.

I wish I could write librettos for the rest of my life. It is the purest of human pleasures, a heavenly hermaphroditism of being both writer and musician. No wonder that selfish beast Wagner kept it all to himself.

The people I really admire, like William Blake and John Coltrane and Richard Wagner, had these ridiculously full universes that took their entire lives to describe.

The so-called second New Deal of 1935 - including the Works Progress Administration, Social Security and the Wagner Act legalizing union labor - represented an effort to meet the rising voices demanding a more aggressive government approach to the collapse of national prosperity.

I sing in languages that I speak. So when I'm singing a Schubert song, I know precisely what every word means and, you know, when it was composed and who was the poet and all of that and whether Strauss or Wagner or French Belioz, Duparc or Debussy or whatever.

In my younger days, I used to visit record shops and covet boxed sets of Beethoven symphonies, Wagner operas, Bach cantatas, Mozart piano concertos. Only rarely was I able to find the money for such luxuries.

As any opera fan knows, lawyers and judges do not fare well in most operas. Just consider the productions of 'Andrea Chenier,' 'Aida, Norma,' 'Billy Budd,' 'Peter Grimes,' 'The Crucible,' 'Lost in the Stars,' 'The Marriage of Figaro,' 'The Makropulos Case' and Wagner's 'Ring' cycle. Around 1810, the theme of justice emerged in opera.

I was so naive in radio technique that I knew nothing about timing. I would write pages on Honus Wagner and then get only half through by the time the show ended. I eventually learned, but there was nobody there to school me.

I don't think I was ever particularly mean. I can certainly think of some idiotic exchanges I've had. I was accused of destroying pop music, like Wagner destroyed opera - a guy in Germany started ranting that at me.

Of course there is really vile anti-Semitism in Wagner's writings, but I can't accept the idea that characters like Beckmesser and Alberich are Jewish stereotypes in disguise. Would Beckmesser be a court councillor if he was meant to be a Jewish stereotype? No Jew could occupy such a role.

My favorite composers are the ones that tell the story. I love Wagner. I love Mahler. Prokofiev. The programmatic music. I listen more to classic rock because I don't like the contemporary music very much.

I think there is no work of art which represents the spirit of a nation more surely than "Die Meister Singer" of Richard Wagner. Here is no plaything with local colour, but the raising to its highest power all that is best in the national consciousness of his country.

What stands most explicitly as critique in Nietzsche's late work in not a development from earlier interests but a return to two problems of enduring personal involvement for him, those of Wagner and of Christianity. Der Antichrist , to take one case, is not a response to a resuscitating public interest in Christian religion; it is primarily a renewed attempt to resolve for himself the question of piety.

If I can't do an opera as well as most people, I won't do it at all. I don't want to touch Wagner because I think a lot of people do it a hell of a lot better than I could. I do the operas I think I can do, know something about.

The reality is that art has often risen to greater heights than the people who created it. Many flawed artists have created great works of art. You have to decide if you are going to listen to Richard Wagner's music or not because he was very anti-Semitic.

If one has not heard Wagner at Bayreuth, one has heard nothing! Take lots of handkerchiefs because you will cry a great deal! Also take a sedative because you will be exalted to the point of delirium!

When you think about a composer you know like Wagner or Pier Boulez or something like that most of the issues a composer is working with are about discreet, notated music that someone else will play.

C. Peter Wagner was the Donald McGavran professor of church growth at Fuller. He was considered to be the heir of McGavran, founder of the church growth movement. That movement essentially said, 'Whatever grows a church is good' and needs to be nurtured.

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.

The thing about Wagner is we're always wrong about him, because he always embraces opposites. There are things in his operas which viewed one way are naturalistic, and viewed another way are symbolic, but the problem is you can't represent both views on stage at once.

yes, Wagner and the storm intermix with the wine as nights like this run up my wrists and up into my head and back down into the gut

Scriabin slept with Chopin under his pillow, and I slept with Wagner under mine. I could not concentrate on memorizing Bach fugues, but I had all of 'Gotterdammerung' in my fingers.

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.

To them belong, not only the truly great statesmen, but all other great reformers as well. Beside Frederick the Great stands Martin Luther as well as Richard Wagner.

A soccer game is a Wagner opera. The narrative sets up, the tension builds, the music ebbs and flows, the strings, the horns, more tension, and suddenly a moment of pure bliss, trumpet-tongued Gabriel sings, and gods descend from Olympus to dance - this peak of ecstasy.

Maybe this is why so many serial killers work in pairs. It's nice not to feel alone in a world full of victims or enemies. It's no wonder Waltraud Wagner, the Austrian Angel of Death, convinced her friends to kill with her. It just seems natural. You and me against the world.

Even though it doesn't look like it, I run. On a treadmill. And I bounce around to all the songs on my iPod - the Pixies, Wagner, Richard and Linda Thompson, even books on tape. Just not self-help ones.

I felt, "Oh, film is a great art because I can pull in music and visual imagery, and it has its literary aspects and drama." Film was a sort of Wagnerian synthesis of the arts, as opposed to opera, which Wagner had thought would be. That's another art form that has seen its best days.

Can a great artist be mean-spirited, grasping, harsh to his family, violent in his emotions, vindictive in his hatreds, an all-purpose scoundrel? If our test cases are the likes of Wagner, Picasso, and, let me say, Dickens, the answer is a resounding yes.

My greatest experiences in the theatre and the most religious experiences in my life - of which going to the opera is one for me - have been with the Romantic composers' repertoire: it's Wagner, it's Strauss, Verdi, Puccini. That era gets me every time.

My tastes went all over the place, from Strauss to Mahler. I was never a big Wagner or Tchaikovsky fan. Benjamin Britten, Tallis, all the early English Medieval music, Prokofiev, some Russian composers, mostly the people that were the colorists, the French.

It always makes me sad when I think of how I saw Wagner wasting his vitality, not only by singing their parts to some of his artists, but acting out the smallest details, and of how few they were who were responsive to his wishes.

'Tristan' is a very unique case, not just in Wagner's output, but in music in general. It remains contemporary no matter what else surrounds it. There is something self-renewing about it.

Everything in Wagner's work - the music, the acting, the staging - stemmed from the text. Everything served to interpret the text.

What a wonderful work Wagner has done for humanity in translating the toil of life into the readable script of music! For those who seek the tale of other worlds his magic is silent; but earth-travail under his wand becomes instinct with rhythmic song to an accompaniment of the elements, and the blare and crash of the bottomless pit itself.

The best advice I got as a writer was also the first advice, which came from the late fantasy author and editor Karl Edward Wagner: Any agent who charges to look at your work is a crook.

When I was a small boy in Kansas, a friend of mine and I went fishing. I told him I wanted to be a real Major League baseball player, a genuine professional like Honus Wagner. My friend said that he'd like to be President of the United States. Neither of us got our wish.