Quotes of All Topics . Occasions . Authors
I don't think I was ever particularly mean. I can certainly think of some idiotic exchanges I've had. I was accused of destroying pop music, like Wagner destroyed opera - a guy in Germany started ranting that at me.
I was so naive in radio technique that I knew nothing about timing. I would write pages on Honus Wagner and then get only half through by the time the show ended. I eventually learned, but there was nobody there to school me.
If I can't do an opera as well as most people, I won't do it at all. I don't want to touch Wagner because I think a lot of people do it a hell of a lot better than I could. I do the operas I think I can do, know something about.
It always makes me sad when I think of how I saw Wagner wasting his vitality, not only by singing their parts to some of his artists, but acting out the smallest details, and of how few they were who were responsive to his wishes.
I was at a banquet, and I went into the ladies' room, and I'm in the stall doing my business, and a piece of paper and pen came from outside the door, and she says, 'Ms. Wagner, would you please sign this for me?' And I said, 'Are you kidding me?'
C. Peter Wagner was the Donald McGavran professor of church growth at Fuller. He was considered to be the heir of McGavran, founder of the church growth movement. That movement essentially said, 'Whatever grows a church is good' and needs to be nurtured.
Can a great artist be mean-spirited, grasping, harsh to his family, violent in his emotions, vindictive in his hatreds, an all-purpose scoundrel? If our test cases are the likes of Wagner, Picasso, and, let me say, Dickens, the answer is a resounding yes.
Wagner is contrapuntal in a philosophical way as well as a musical way. What I mean by that is that every tendency has its opposite, and you see that in the man himself. He's a metaphysical hermaphrodite - he embraces hard and soft, masculine and feminine.
The reality is that art has often risen to greater heights than the people who created it. Many flawed artists have created great works of art. You have to decide if you are going to listen to Richard Wagner's music or not because he was very anti-Semitic.
My tastes went all over the place, from Strauss to Mahler. I was never a big Wagner or Tchaikovsky fan. Benjamin Britten, Tallis, all the early English Medieval music, Prokofiev, some Russian composers, mostly the people that were the colorists, the French.
I sing in languages that I speak. So when I'm singing a Schubert song, I know precisely what every word means and, you know, when it was composed and who was the poet and all of that and whether Strauss or Wagner or French Belioz, Duparc or Debussy or whatever.
With these big Wagner pieces, if I haven't started three years before, I'm screwed. You need time to look at the piece again and again and again, and then, like some fantastic casserole or spaghetti sauce, put it back in the fridge and let the flavours get together.
The thing about Wagner is we're always wrong about him, because he always embraces opposites. There are things in his operas which viewed one way are naturalistic, and viewed another way are symbolic, but the problem is you can't represent both views on stage at once.
A soccer game is a Wagner opera. The narrative sets up, the tension builds, the music ebbs and flows, the strings, the horns, more tension, and suddenly a moment of pure bliss, trumpet-tongued Gabriel sings, and gods descend from Olympus to dance - this peak of ecstasy.
I think sometimes when you speak about something like 'Indian classical music' and 'ragas,' and all of that's new to people, it can be quite intimidating, in the same way that I have sometimes found opera and Wagner intimidating - one doesn't know where to begin sometimes.
Wagner always opens you a second breath, and then you go on, and you are absolutely into his musical world, and you can't stop, and you can listen for four hours, five hours, six hours, and then you are like in his mystical hands of his music. He's such a great poet of music.
You look at someone like Neil Wagner - he's got a big heart, a big engine, and keeps running. And that's what you want, you want guys who, time and time again, want to be putting themselves in that position, to keep wanting to create chances and keep trying to change the game.
The so-called second New Deal of 1935 - including the Works Progress Administration, Social Security and the Wagner Act legalizing union labor - represented an effort to meet the rising voices demanding a more aggressive government approach to the collapse of national prosperity.
In his late quartets, Beethoven introduces an element that shouldn't be there, that should be left for meditation, though I love them. I can see that through them came Wagner and Mahler and Schoenberg and Berg. And then came Tracey Emin. And I can see it all as one downward path.
In the heart of the Great Depression, millions of American workers did something they'd never done before: they joined a union. Emboldened by the passage of the Wagner Act, which made collective bargaining easier, unions organized industries across the country, remaking the economy.
Wagner had a terrific understanding of politics. In 1829, he was a Marxist revolutionary who wanted to bring down the establishment. He hated religion and churches, which he said enslaved people. But he later developed different views that put art at the centre of the life of the state.
Of course there is really vile anti-Semitism in Wagner's writings, but I can't accept the idea that characters like Beckmesser and Alberich are Jewish stereotypes in disguise. Would Beckmesser be a court councillor if he was meant to be a Jewish stereotype? No Jew could occupy such a role.
I never listen to music when I am writing. It would be impossible. I listen to Bach in the mornings, mostly choral music; also some Handel, mostly songs and arias; I like Schubert's and Beethoven's chamber music and Sibelius' symphonies; for opera, I listen to Mozart and in recent years Wagner.
Most of the dramatism in Wagner comes from a very close link between the music and the language of the text. So much of the expressivity of Wagner's music dramas comes from the singers' capacity to play with the sound of the language. This kind of thing you can do very well in concert performance.
I think 'Rheingold' has symbolic meaning of what happens in the world when you're running after the Rhine gold, after the gold. It doesn't end very well. It's kind of a reminder of the values of life, and I think 'The Ring,' in a way, is kind of a prediction of Wagner of what would happen in the world.
As any opera fan knows, lawyers and judges do not fare well in most operas. Just consider the productions of 'Andrea Chenier,' 'Aida, Norma,' 'Billy Budd,' 'Peter Grimes,' 'The Crucible,' 'Lost in the Stars,' 'The Marriage of Figaro,' 'The Makropulos Case' and Wagner's 'Ring' cycle. Around 1810, the theme of justice emerged in opera.
