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.
I would advise all young musicians to not only experience and play chamber music, but to go to operas, speak to the singers, to explore and expand your horizons.
Excepting a religious ceremonial, there is no occasion where greater dignity of manner is required of ladies and gentlemen both, than in occupying a box at the opera. For a gentleman especially no other etiquette is so exacting.
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.'
You'll find in Africans a fantastic amount of heavy space opera and so on, going on ... which makes the colored African very, very interesting to process because he doesn't know why he goes through all these dances ... and why he feels so barbarous.
I would love to sing opera.
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'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.
The operas I listen to aren't in English, and I want to listen to my opera after I'm done with it. I want to have the desire to play it on the stereo. To me, the language is part of the mystery.
Growing up, for years and years I had no idea what the plots of operas were, and that's part of what fascinated me - I could make them up and learn bits and pieces of what was going on over time. There's something about it being always a step away that makes it more fun to chase.
I really thought I wanted to be a musical-comedy star, but I lived in Phoenix and didn't want to go all the way to New York and be that far away from home. So I thought maybe I'd be a rock 'n' roll singer or an opera singer.
Opera is complex for those who perform it, but also for those who listen to it. It takes more time, more patience and more spirit of sacrifice. All this is well worth it because opera offers such deep sensations that they will remain in a heart for a lifetime.
When I hear that young people have come to the theater for the first time to listen to opera, I'm very happy. Because it's the same thing that happened to me as a child. When I first heard the tenor voice, I immediately fell in love with this kind of music.
I am a living soap opera.
My family was very supportive of whatever I wanted because my grandfather was an opera singer. My dad's dad. So my dad has an appreciation for the arts, and he let me choose my own path.
I enrolled in an acting workshop and my first acting role was on the TV soap opera 'Melrose Place.'
I don't find much influence in opera. It was such a different part of me.
I started performing opera when I was 10 years old. I didn't perform as Zola Jesus until I was probably 18.
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.
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.
True expression is hard when performing opera. The problem is that opera relies on the dramatic context of the piece. It can be interpreted and represented, but there are guidelines; there is a vocabulary within the pieces that you must know objectively and reflect.
To survive there, you need the ambition of a Latin-American revolutionary, the ego of a grand opera tenor, and the physical stamina of a cow pony.
The inventor of the modern foundation garment that we women wear today was a German scientist and opera lover by the name of Otto Titsling.
All My Children' taught me a great work ethic; you work so hard on a soap opera!
For me, few things are more compelling than watching a great opera.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: