Like gladiator games and pyramid building, opera has always been a gloriously money-losing proposition. It is the most extravagant of arts, requiring the constant support of kings, dictators, plutocrats, and town councils. Box-office success is no solution. San Francisco Opera loses money at every sold-out performance. Sane business practices simply don’t suffice. Composer Richard Wagner’s patron, King Ludwig II of Bavaria, was the ideal operatic angel — very rich and certifiably insane. Mel Brooks’ shyster producer Max Bialystock need not have mounted Springtime for Hitler to score a surefire loss. Aida would have done just fine.
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"Drama at the Opera House," San Francisco Magazine (September 2001)Dana Gioia
This evening heard Carmen on the radio, and reflected how hard it was to vamp a man while singing at the top of one's voice. That is the operatic problem; the singer must keep up a head of stream while trying to appear secretive, or seductive, or consumptive. Some ingenious composer should write an opera about a group of people who were condemned by a cruel god to scream all the time; it would be an instantaneous success, and a triumph of verisimilitude.
Robertson Davies
Life is like a movie. You go to a movie, give them your money and they give you a seat and start the film for you. Between eating popcorn and drinking Coca cola, you fall asleep. Now, you didn't pay your $5.00 to sleep in that chair did you? In exactly the same way, through previous karma, life is gained here. It is paid for! (You have earned it!) With Guru's grace, you did the Bhakti, and then God granted you a human body. It is earned, paid for and the title is clear. You can make it or mar it. It's your business. You've paid the money and now you are seated at the opera and the performance has begun. If you sleep and snore through it, who cares?
Harbhajan Singh Yogi
I love Italian opera — it’s so reckless. Damn Richard Wagner, and his bellowings at Fate and death. Damn Debussy, and his averted face. I like the Italians who run all on impulse, and don’t care about their immortal souls, and don’t worry about the ultimate.
Claude Debussy
Maria Callas remains an icon with an instantly recognizable voice. But she was also the first opera singer to be equipped with the ingredients of international celebrity: charisma, glamour, wealth, she had it all, together with the touches of scandal and tragedy that made her story so compelling. Since her time, every female opera singer has been measured against this powerful role model. ... Callas modernized our metier. Her life was a tireless creative search. She was one of the first to recognize the importance of being an actress as well as a singer, and was uncompromising in her belief that, in order to achieve a complete dramatic performance, all aspects of the operatic genre require equal attention. She was a pioneer in restoring forgotten repertoire and in exploring new ways of musical interpretation. To this day, I find that many of her exemplary recordings are astounding.
Maria Callas
Sir, money, money, the most charming of all things; money, which will say more in one moment than the most elegant lover can in years. Perhaps you will say a man is not young; I answer he is rich. He is not genteel, handsome, witty, brave, good-humoured, but he is rich, rich, rich, rich, rich — that one word contradicts everything you can say against him.
Henry Fielding
Gioia, Dana
Gipson, Simon
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