Quotes About Opera

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.

Instead of Otello being an Italian opera written in the style of Shakespeare, Othello is a play written by Shakespeare in the style of Italian opera.

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

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.

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.

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.

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

I read a story about some old opera singer once, and when a guy asked her to marry him, she took him backstage after she had sung a real triumph, with all the people calling for her, asked, 'Do you think you could give me that?' That story hit me right, man. I know no guy ever made me feel as good as an audience. I'm really far into this now, really committed. Like, I don't think I'd go off the road for long now, for life with a guy no matter how good. Yeah, it's the truth. Scary thing to say though, isn't it?

If I'm going to go to the opera, I want to see the costumes and the melodrama.

Life is not an opera. Scenes belong on the stage.

A show like Knots or any other show that can be called a soap opera does terribly in syndication because if you're a viewer and you miss a week you don't know what's going on.

I am a person. I am not a soap opera. There is never going to be a next [tabloid] installment about my life because my own stuff is my own stuff.

I'm very musically inclined. My parents were opera singers. As a young child, I could hear operas and I knew if they were sad, or if they reminded me of something, or they brought back a memory.

As an art form, opera is a rare and remarkable creation. For me, it expresses aspects of the human drama that cannot be expressed in any other way, or certainly not as beautifully.

Almost everyone admits to hunger during the Opera.... Hunger is so exalting that during a last act you practically levitate.

Normally our season is seven weeks in the Drama Theatre and four weeks in the Opera Theater.

Ironically, that was quite a bit of the appeal of Rumours. It's equally interesting on a musical level and as a soap opera.

Grand opera is the most powerful of stage appeals and that almost entirely through the beauty of music.

What opera isn't violent? Two things happen, violence and love. And other than that, name something else. You can't

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.

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.

Like any other composer of opera, I choose a subject not for polemical reasons, but because it contains vivid characters in highly charged dramatic situations.

I think it's the responsibility of a major opera house not only to cultivate debate and get people thinking, but also to be interfaced with things that challenge them. To challenge its audience and not just deliver things that they know, even though some of those things are wonderful.

My works are a direct response to the typical space opera. I grew tired of always reading about how the people with power, with agency, get involved in huge sweeping arcs of stories. I wanted stories that dealt with real people, people I could relate to.

The work that launched Snohetta into the architectural big leagues was their Oslo Opera House, which will certainly rank among the firm's highlights whatever else they may do. Although this is by any measure a triumph of city planning, the building itself is not quite a masterpiece, though very fine indeed.

One can't judge Wagner's opera Lohengrin after a first hearing, and I certainly don't intend to hear it a second time.

I'm not glamorous, I don't have a look, I don't know anything about opera, I have no Italian, and I'm too old.

The Opera is obviously the first draft of a fine spectacle; it suggests the idea of one.

Note that both of these papers [the New York Post and the New York Daily News] are big sellers in a city whose residents like to go around saying they'd never live anyplace else on account of they'd miss the opera.

When I wrote the opera, I made a deal with myself that for at least an hour a day I would work on it, even if it meant just sitting on my piano bench, staring into space and thinking about it. It's about keeping it regular, like your bowel movements - let's get real: it's your bodily artistic movements! It comes from the same place.

You sit at a fashion show in another country and you watch all of these paparazzi swarm around a celebrity, only they're a local celebrity, maybe a soap opera star, so you don't have any idea who they are, you just know they're famous to a bunch of stunned Italians. It's weird, because when you can't identify who a celebrity is, they can just look like overslicked stand-ins. That might sound awful, but what I mean is, when you think about most actresses, even in Hollywood, they really aren't that fascinating or glamorous in their own right once you strip away the flashbulbs.

Apropos, is not the Scotch phrase 'Auld Lang Syne' exceedingly expressive? I shall give you the verses on the other sheet. The words of 'Auld Lang Syne' are good, but the music is an old air, the rudiments of the modern tune of that name. ... Dare to be honest and fear no labor. ... Opera is where a man gets stabbed in the back, and instead of dying, he sings. ... Chords that vibrate sweetest pleasure thrill the deepest notes of woe. ... Critics! Those cut-throat bandits in the paths of fame.

I went to film school when I was 17, and of course when you are very young you think that there is nothing else in the world except film. At some point I started getting hungry to see something else. For five years I didn't make any films, I was traveling around the world, writing for newspapers, working in theater, working in opera, I thought I would never return to film.

Directing an opera is similar to directing a play. The singing must not get in the way of the drama.

My worry is that opera will become an historic art form as opposed to a living, breathing thing.

When the music and the characters are flawlessly synchronized, the opera develops an emotional force that movies and plays cannot match.

But, in North Korea, it's just the opposite. There's one story. It's written by the Kim regime. And 23 million people are conscripted to be secondary characters. There, as a youth, your aptitude towards certain jobs is measured, and the rest of your life is dictated, whether you'll be a fisherman or a farmer or an opera singer.

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 fell in love with the classical crossover genre when I was on AGT. I found out that I could use the microphone to establish a deeper intimacy with the audience. I did not portray an opera character; I was my true self. I would sing a four-to-five minute piece for the audience and then I could talk to them and say "Hi" to them! I would not need to act out scenes where my character was dying from tuberculosis or killing somebody else on stage, I could have a nice conversation with them.

When you decide to become an opera singer, it's a commitment that allows nothing else to interfere. Even your family - and I have a young daughter - has to take second place.

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

[Rock 'n' roll] is still a primitive form and there's no way you can get away from that. It's one of the primitive art forms and that's why it's good and that's why it's lasted...you know, it hasn't become sophisticated and it's not in the opera house.

But the stuff that I do is more like all the comic roles like in The Merry Widow and Die Fledermaus and I just did this Offenbach operetta at the LA Opera. I love it. I just love it. For me, it's like a great mesh of musical theatre and my classical oboe background to be standing on these huge stages with a full orchestra and all the opulence. I'm a complete sucker for the over-the-topness.

Visitation Street is urban opera writ large. Gritty and magical, filled with mystery, poetry and pain, Ivy Pochoda’s voice recalls Richard Price, Junot Diaz, and even Alice Sebold, yet it’s indelibly her own.

It's very much like opera singers. They do the same thing. The first thing in the morning and the last thing at night, the thing they think about is their voice and how to take care of it.

Maybe in this Star Wars world maybe subconsciously I was preparing myself. But I've just found all of my ideas I've been coming up with are big sci-fi things, and I wanted to do a big epic, a big space opera, and this is it. This is mine.

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.

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.'