When my opera Plump Jack was performed in 1989, my first piano teacher sent me something that I'd composed when I was four. I remember I played it, and it still sounded like me. I'm the same composer I was then.
I was on the soap opera 'Days of our Lives.
If I felt that one of my operas did not come off I would certainly say so.
To be able to make a good living in a challenging medium like soap operas is great. The best is that I get to act and am rewarded for it. And the people I work with are great. Funny, intelligent, hard working. They're all great to be around.
When I've seen my operas in Europe, they have always struck me as more American than when I hear them here. I can't tell you what that phenomenon is.
I want to do rock operas.
I think opera has gained a kind of glamorous appeal. It's a live performance that aligns all of the arts, and when it is represented in the media, in film in particular, it is presented as something that is really a special event, whether it's a great date or something that's just hugely romantic.
You listen to Handel operas, right? And there are a thousand of them, right? And they all sound alike. If I look back on my work, maybe it's the same thing.
Music has always played a big part in my life and, believe it or not, in my soap opera career.
There was always dance in opera until people forgot to keep it going.
You don't win an Olympic gold medal with a few weeks of intensive training. There's no such thing as an overnight opera sensation. Great law firms or design companies don't spring up overnight... Every great company, every great brand, and every great career has been built in exactly the same way: bit by bit, step by step, little by little.
What is the source of power of musicians who are financially browbeaten, most of whom work for minimum wage or less? Musicians who cannot even afford to buy tickets to operas or concerts in which they themselves perform?
Museums just seem to have this borrowed cachet—if I want to seem cultural, I will design something cultural. I resist the idea that culture is only opera houses or theatres. Culture is your entire life around you: toilets, the bus, the kerb or the dump where you drag your waste. Culture has come to mean the arts, but it’s swimming pools as well.
As a teenager I studied opera, believe it or not. But I just couldn't catch on to it.
The Opera reminds me of my tax audit. It was in a language I didn’t understand. And it ended in tragedy.
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.
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.
My mother was into opera and my father was into jazz, so there was a lot of jazz in the house where I grew up.
I did radio, I did television, I did opera, I did films in which I had very, very little to say. But I had a lot of experience in front of the camera, and that's what really counts.
I was nostalgic even as a young man. Preferred listening to Opera not Bing Crossby.
Cathedrals are built with pennies of the faithful. A great opera house also is a spiritual center, a temple of sorts, where many gather together for recreation, education, and inspiration - a blessed trinity worthy of public support.
Musicians ought to reclaim some of the power in the houses of production. The opera houses are run either by managers or by stage directors, never by musicians.
I wouldn't know anything about opera music if it wasn't for Bugs Bunny. That was my entire introduction to opera music. I wouldn't know anything about classical music if it wasn't for "Fantasia." They didn't have to do that stuff. They chose to base this ridiculous, funny, intriguing, creative story on this beautiful classical music. It's the combination of the high and the low that I thought was very cool. But I had no concept of it as a kid.
I remember someone once saying, "Pete, you know you really should take voice lessons." And I said, "Well, if I could find any voice teacher that could teach me to sing like Lead Belly I'd spend every cent to study under him." But every time you'd go to a voice teacher, he'd teach you to warble, as if you'd want to be an opera singer, and that's not what I'm interested in.
Opera is everything rolled into one - music, theater, the dance, color and voices and theatrical illusions.
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