Quotes About Opera

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 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.

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.

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.

The trouble with the opera is there's always to much singing.

King Kong, Count Dracula, and the Phantom of the Opera are just looking for love, like the rest of us.

'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.

'Lollipop Opera' is the backdrop to Finsbury Park. A place that is very thriving, interracial and lot of music stores, Greek, Turkish, all sorts of immigrant music. It's utter Englishness. It blends the Jamaicans, the Irish. It's like what Jim Reeves did with American country music.

I don't rehearse films as much as opera or theatre. When I began directing films I thought a long rehearsal was a good idea. Experience showed me that the best performance was often left in a rehearsal room.

Music in general and lately opera in particular fills my soul with hope and inspiration.

One of my first jobs was in a soap opera, five days a week. And what I found is, although there are different directors coming in and different crews, you just lived in your character. It's the nature of the story, the ongoing story, and it can get deeper and deeper.

It seems to me opera is just as relevant as an expressive art as anything else.

He believed that life, true life, was something that was stored in music. True life was kept safe in the lines of Tchaikovsky's Eugene Onegin while you went out in the world and met the obligations required of you. Certainly he knew (though did not completely understand) that opera wasn't for everyone, but for everyone he hoped there was something. The records he cherished, the rare opportunities to see a live performance, those were the marks by which he gauged his ability to love.

People think top singers are overpaid, but opera houses have a top fee, which is a good thing. Of course concerts are different- everyone wants to make as much money as possible.

I've known my lady (for she loves a tune) For fevers take an opera in June: And, though perhaps you'll think the practice bold, A midnight park is sov'reign for a cold.

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.'

You're always in a tunnel that you can't see the end of. But there's something that took place on this movie that I don't think we expected and that was that once we decided that the entire cast would be real retired opera singers and retired musicians... and these people the phone hadn't rung for them for 20 or 40 years even though they can deliver.

I like the idea that [Mahatma] Gandhi is appearing now in an opera hall in all these different places, and people kind of think about it again.

In a way, being an opera singer is like being a very romantic sixteen-year-old who falls in love with great passion and conviction every month.

It's necessary to track characters all the way through an opera. If you're dealing with more than one or two characters, it's very easy to forget that the others have lives of their own that feed into the story.

Wow this place is really big isn't it? They must do proper stuff here, like opera and all that...shite.

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.

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.

We consider Monteverdi the first composer of opera. There was someone before, but everything started with Monteverdi.

Ask most kids about details about Auschwitz or about how the American Indians were assassinated as a people and they don't know anything about it. They don't want to know anything. Most people just want their beer or their soap opera or their lullaby.

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.

You can learn more by going to the opera than you ever can by reading Emerson. Like that there are two sexes.

I really wanted to be an opera soprano.

When I go to an opera performance and sit there while people are cheering and shouting "bravo," I sometimes ask myself what exactly they're cheering about. And I even see myself as an artist who also knows how to enjoy other people's performances.

When you say you're doing an opera, it's like when you're a seven-year-old and say, 'I'm off to Washington, Dad.' You kind of go, 'Sure. Sure you are, son.'

The opera tells the story with all the built-in contradictions and from many different angles.

The word "theatrical" makes me cringe, because it suggests a performance is staged, put on, rehearsed. And while all this is true for an opera, I believe the act of singing and performing should always be honest, raw, guttural.

I want to reach as many people as possible with the message of music, of wonderful opera.

In no instance is there to be a musical or opera of Inherit the Wind because it doesn't sing. It's an intellectual play.

The aria, after all, is the soul of opera.

I looked at the job of piano accompanist. It's a selfless position and generally they are odd people, according to opera singers I talked to. Just like everybody else, they want more from their life, but now their job is to make others shine.

Of all the noises known to man, opera is the most expensive.

The show is escapism. If you look back to when I was in college, all the girls in the sorority houses were gathered around watching soap operas. That was the escapism, the show that was giving you something you couldn't have. Now, you go into any sorority house, there are 50 to 100 girls piled in watching The Bachelor. We are the modern-day soap opera.

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.

I was the first movie star to plunge into night-time soap opera.

Opera: I like it, except for all those howling sopranos and caterwauling tenors. (Why can't tenors sing like men?)

After I left college, I went to work at the Royal Opera House in London, which became a real catalyst for me because it made me realize that I was interested in cinema and in the way life is thrust at you. So I started making films.

The aeroplane. . . is not capable of unlimited magnification. It is not likely that it will ever carry more than five or seven passengers. High speed monoplanes will carry even less. . . . Over cities, the aerial sentry or policeman will be found. A thousand aeroplanes flying to the opera must be kept in line and each allowed to alight upon the roof of the auditorium, in its proper turn.

I was into opera as a kid - I'd play 'Carmen' and sing and dance. My mom signed me up for a theater group before preschool, and I never looked back.

Theatre can transform a child's life, just as an early cultural experience whether with opera, ballet, music or art is a wonderful thing because it opens the door to a life-long experience, a life-long enjoyment.

I want to make these films that I think other people would be scared to do. I don't think anyone can go off and make a rock opera. I think it's a very specific niche.

Even in today's opera world, the position of the black tenor is problematic.

Flawless . . . Tightly choreographed . . . Shipstead gains entry into exclusive worlds and trains her opera glasses on private social rituals, as well as behind-the-scenes hanky panky . . . Similar to classic ballet, the power of Astonish Me arises out of the pairing of a melodramatic storyline with scrupulously executed range of movement . . . Shipstead sweeps you into this insider world of sweat, narcissism, and short-lived magic . . . Transcendent.