Quotes of All Topics . Occasions . Authors
I have almost no memory of my parents ever speaking to each other. They split up on bad terms. I assumed that's what family life was like. Just essentially a soap opera.
Many years ago I was in another soap opera called The Newcomers which was on twice a week for three years. I really don't think I could do another stint like that again.
In opera, everyone's watching from a fixed viewpoint, and that really challenges you. Lighting, the sets, stage groupings, the music-but doesn't relate too much to film.
I have always been pretty flexible. I could always jump and do all kinds of dangerous movements. In opera, I like to do it because it's fun, as long as it fits the role.
Working on a soap opera is such good training for the novice actor. No rehearsal, 120 pages of dialogue per week, and one take to get the scene right. No room for error.
I have the absolute utmost respect for soap opera actors now. They work harder than any actor I know in any other medium. And they don't get very much approbation for it.
Anyone who wants to promote a car or a football tournament turns to opera. There's a much greater public connection than the image of plush corporate boxes would suggest.
Despite the rigid classicism of the famous Paris Opera school and company, the French have done more than their share to unmoor la Danse from its traditions and standards.
In opera, as with any performing art, to be in great demand and to command high fees you must be good of course, but you must also be famous. The two are different things.
'Gone With The Wind' is one of the all-time greats. Read Margaret Mitchell's book and watch the film again; it's a soap opera in all its glory. It is superb and memorable.
To be let go from a soap opera is the most embarrassing confidence basher in the world. It's like, 'Oh, if I'm not good enough for that, I'm not good enough for anything.'
I have always felt an excellent rapport ever since my very first concert in Britain at Hampton Court. I have always felt understood. The British understand opera very well.
I want tap to be something danced in arenas. Sort of like a rock group. Other art forms happen every night. Take theater, opera; there's always opera happening every night.
I used to think that, given enough goodwill, anybody would be able to 'get' any music, no matter how distant the culture from which it came. And then I heard Chinese opera.
When the subsidies are going out there to fund arts, I'd like to see jazz given a better shake of the dice. It attracts as many people as opera does, but not the subsidies.
Soaps taught me the fundamentals of the game. You know, how to show up, hit your mark, how to be on time. That soap opera world is a microcosm of the entertainment culture.
The most widely criticised singers in the history of opera, Maria Callas and Franco Corelli, happen also to be the best singers. I am honoured for being part of their group.
I had a schoolmaster who was a supernumerary at Glyndebourne Opera, and through ,I got a job as a walk-on in Peter Hall's production of 'Don Giovanni' there in 1975 or 1976.
The favorite thing I like to do is nothing. I'm such an expert at doing nothing. I have a boat. I make training films for the Coast Guard. I listen to a great deal of opera.
I had no interest at all in opera or singing. I saw my fellow students struggling with their scores, laboring to memorize operatic roles, and I thought, 'That's not for me!'
I started working in front of the camera for the first time when I was 15 years old. I joined a soap opera. We filmed in Brooklyn, and I would skip class to shoot my scenes.
Seriously though, my father was the first African American to sign a contract with the Metropolitan Opera so I grew up with classical music and jazz in the home all the time.
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.
My real passion is for opera. It was born and developed by listening to records, and my dream as a child was to record entire operas when I grew up, and this dream came true.
I started out in theater, and then I got a job on a soap in New York. With a soap opera, its every day, all year long - there's no downtime, and you're shooting a show a day.
My grandma did opera singing for the better part of her life; she used to sing all over the place. My grandpa was a sax player, and he used to travel all over the place, too.
I wonder anybody does anything at Oxford but dream and remember, the place is so beautiful. One almost expects the people to sing instead of speaking. It is all like an opera.
I can't distract myself enough here, for sketches to a new opera are constantly buzzing around in my head, to the extent that I need all my strength to wrest myself from them.
Every job you have, there are days that are more difficult than others. I worked on a daytime soap opera, where the volume at which you're producing this medium is incredible.
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 don't know why a computer game can't be an art form just as a puppet show or an opera is. I'm still interested in computer games as something I would like to work on someday.
I have no desire to become a crossover artiste, singing with microphones. I believe in opera; that it is something that young people would love if they had a chance to hear it.
I listen to lots of music, especially Bach, opera (all periods), German lieder, chamber music, and rock, old and new. I can't listen to music while I write. It's too absorbing.
My parents have always given me whatever I wanted. Took me to the ballet, the opera, museum exhibitions. I was always surrounded by art. It's their fault I've become an actress.
When I first started acting, I started in opera and had a great desire to play grand, tragic characters. I got sidetracked in musical theater and ended up doing a lot of comedy.
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.
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.
Evidence has been mounting for the key role that black holes play in the process of galaxy formation. But it now appears that they are likely the prima donnas of this space opera.
When I was general director of City Opera, we were pioneers in the practice of projecting supertitles so that American audiences finally could know what all the singing was about.
In Europe, it is not so unusual for directors to move between opera, theatre, and film, and I have at least three girlfriends I can think of who have directed in all three genres.
One gets, sensitive about losing mornings after getting a little used to them with living in a country. Each one of these endlessly varied daybreaks is an opera but once performed.
I had a lot of classical influences. I had classical music and opera and literature, but I also liked sleaze. And putting it together, sleaze and glamour, it just made sense to me.
My mother sent me to dance and drama classes when I was young, and then I got a stage role in 'Set To Partners' when I was 12, followed by Benjamin Britten's 'Let's Make An Opera.'
I was one of the lucky people who found what I loved at a really young age. When I was 16, I got my first job in a Portuguese soap opera, and I realized how much I really loved it.
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.
I'm still wondering about the Phantom in the chair, you know at the end of Phantom [of the Opera], so I guess that's my sort of idiocy. I still haven't figured out how they do that.
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.
The real exertion in the case of an opera singer lies not so much in her singing as in her acting of a role, for nearly every modern opera makes great dramatic and physical demands.
I took opera lessons. I can't read music to save my life, but I would just copy and get away with it. I think that they thought I could read music, but I can't. I would just listen.
Any time I've performed on one of the major stages, whether it be Covent Garden or the Paris Opera or the Bolshoi or the Mariinsky, those are really the top memorable moments for me.