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Michelle Pfeiffer

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She became a singer, and it was an extraordinary kind of example — graphic example — of what a good actor can really do, you know. She spent a lot of research time, she went around and heard singers and studied what they did. Everything from, of course, all the body language and all of that stuff — but vocally, we went in the studio and she sang a version of My Funny Valentine that, I mean... it killed me.
--
Dave Grusin, composer on The Fabulous Baker Boys

 
Michelle Pfeiffer

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Intensity of communication, emotion, how the fusion of poetry is related to me as a listener. I’m disappointed by the bland and perfect vocal accomplishment, which I hear on so many recordings. Which is not to say that classical singers shouldn’t try to become vocally masterful. I take my cue more and more from good pop singers. The other day I was looking at an early concert of Elvis Presley. It was fascinating to watch, the body language, the vocal suppleness

 
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Callas studied the text, the meaning of the words, and as a result, she became a diva. She became the Great Callas. Because she studied the character, she entered the mind of the character, and she brought the character to life onstage. Today, young singers don’t have this mindset. They don’t have the kind of technique that Callas had. ...Price, Milanov and Tebaldi had stupendous voices and great careers. [But] Callas, as a performer, as someone who expressed the real meaning of the words, was the best. The best. There is no doubt about this — not only for her sound, but because she studied so much. Callas is the diva. She is important to young singers, because she was a serious singer onstage, and she left a great legacy. I don’t know, though, if they can listen and learn from what she left on her recordings.

 
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He would probably be considered a baritone, but he could reach notes that most baritone singers could not. Much of his abilities emanated from a very intense desire to execute a song as he wanted to do it, which meant that he really sang higher than he would normally be able to. When the adrenalin is going, and the song is really pumping, you can get into that mode where you can actually do things, vocally, that you couldn’t normally do. So he had a tremendous range because of his desire to excel and be better, and that’s why he could do a lot of things that most people couldn’t.

 
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The folksong collectors Bartok (Hungary) and Plicka (Czechoslovakia) notated the perceived interval deviations with a plus or minus sign (+,-). Older folksong collectors had notated all the intervals in the system of semitones, not observing the finer modifications of intervals. This first gained currency from the phongraph and tape recordings of folk music from various lands....From folksong I learned to perceive melodic intervals a little smaller or greater than those of the semitone-system....In my youth it often happened that the folk singers, who during the intermissions of dance festivals sang songs of "their kind," deviating from the semitone system, demanded that the first violinist of the Wisowitzer Kapelle play "their" melody just as they sang it. Once a tempermental singer threatened to strike the double-bass player with a beer mug if he didn't "play along" with the song, exactly as he sang it.

 
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We hit it off real well. Every time we get together she is open and she really trusts me. The ingredients are good and there is a chemistry there that you can hear through the music. I can't give her advice on her pop stuff but she will seek it for dance stuff. You know she rarely ever works with a producer. She's a writer and producer in the Lauryn Hill category, she doesn't come into the studio with a superstar attitude, the people around her may give you that impression, but we have a really good relationship.

 
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