Quotes About Opera

No, no, you have driven me mad! When I think that I had only one object in life: to give my name to an opera wench!

The Opera ghost really existed. He was not, as was long believed, a creature of the imagination of the artists, the superstition of the managers, or a product of the absurd and impressionable brains of the young ladies of the ballet, their mothers, the box-keepers, the cloak-room attendants or the concierge. Yes, he existed in flesh and blood, although he assumed the complete appearance of a real phantom; that is to say, of a spectral shade. When

THE OPERA GHOST REALLY EXISTED.

It was the evening on which MM Debienne and Poligny, the managers of the Opera, were giving a farewell gala performance to make their retirement.

The Phantom of the Opera did exist. After all, these are no ordinary bones.

Sorelli was very superstitious. She shuddered when she heard little Jammes speak of the ghost, called her a "silly little fool" and then, as she was the first to believe in ghosts in general, and the Opera ghost in particular, at once asked for details: "Have you seen him?" "As plainly as I see you now!" said little Jammes

Had any one met with a fall, or suffered a practical joke at the hands of one of the other girls, or lost a powderpuff, it was at once the fault of the ghost, of the Opera ghost.

Gaston Leroux

He {Erik} filled Christine's mind through the terror with which he inspired her, but the dear child's heart belonged wholly to the Vicomte Raoul de Chagny. While they played about like an innocent engaged couple on the upper floors of the opera, to avoid the monster, they little suspected that someone was watching over them.

Eric is dead.

Opera is when a tenor and soprano want to make love, but are prevented from doing so by a baritone

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 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.

I went from elementary school to proper training, operatic training, and I went on to the Motown University and learned a lot of things from some wonderful people.

An aria in an opera - Handel's 'Ombra mai fu,' for example - gets along with an incredibly small number of words and ideas and a large amount of variation and repetition. That's the beauty of it. It's not taxing to the listener's intelligence because if you haven't heard it the first time round, it'll come around again.

'The Stars are Legion' is part space opera, part thriller, about two warring families battling it out for control over a legion of organic starships.

While I was in Astana, a ballet master from St. Petersburg's Mariinsky Theatre staged a performance of 'Giselle' in the opera hall. It was one of only a few performances to grace Astana's concert spaces in many weeks, and tickets were impossible to come by.

I like the idea of people coming to opera for the first time and finding it an enjoyable experience. I don't like the fact that opera is seen as elitist and all black ties and that stuff.

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.

It is extraordinary to have time to again study Le nozze di Figaro and discover new things.

Corruption hangs in the air around a great talent. Such a gift is unstable by nature, apt to embarrass its handlers. About her there is the whiff of the entertainer. Like vaudeville nipping the heels of grand opera. The maestro smells all this on Kathleen and cools his blood to a temperature undetectable by wild animals.

Did you ever hear him in Lohengrin?' demanded Pardoe, taking the ends of his own moustache with both hands, as if about to tear it off and reveal himself in a new identity.

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

There was some rustling as the gown was cast over the soprano's shoulders, or so Lina assumed, and then the alto and Madame Rocque started cooing. But the soprano cut through it decisively. 'I look like an orange without its rind,' she said firmly.