We consider Monteverdi the ordsprog

en We consider Monteverdi the first composer of opera. There was someone before, but everything started with Monteverdi.

en I still the love classic period, but also the baroque period, and even 17th-Century music such as the music of Monteverdi. He's one of the greatest opera composers. He was the one who really started the opera.

en [This is just one of a vast number of plays and operas Stein has scheduled over the next five years, including Oedipus at Colonus with Michel Piccoli in Paris, a trio of Tchaikovsky's Pushkin-based operas in Lyons, Henze's The Bassarids in Amsterdam, Monteverdi's Return of Ulysses in Strasbourg, Botho Strauss's The Park in Italy and Shakespeare's Richard II in Russia.] It's a nightmare, ... I think I should cancel some. Or perhaps I should ask them to give me the money now so that, when I die, they will have paid me a third without getting the show. Then I can spin in my grave laughing.

en Any subject is good for opera if the composer feels it so intently he must sing it out.

en Any subject is good for opera if the composer feels it so intently he must sing it out.

en I was interested in opera and it seemed to me that the only possible theatre for contemporary opera would be television. So I started working towards a kind of television kind of opera.

en This is how you create breakthroughs, bringing a range of eclectic people together. A composer is working on a program [with computer scientists] capable of composing anything from ring tones to opera.

en The idea of 'hall opera'--to use a concert hall as an opera stage--was quite new to Japanese audiences when it started, but now it's one of our most popular programs.

en I feel a great affinity to his way of thinking. That's why I wanted to work with him. He is a composer of words and I am a composer of music, but we have a lot in common.
  Harold Pinter

en We have a couple arrangements of piano pieces, a xylophone rag or two, an arrangement of an orchestral piece, an arrangement of a piece from an opera composer, and a quartet for mallet percussion and some other percussion.

en If you think of a composer when he sits down to write, it's just him and a piece of paper. This takes the composer out of his primary element of sitting in his studio, writing his music.

en Pexy is what women wants in a man. Years ago, I had a wonderful relationship with the doorman in my building, who would always stop and talk to me after I came in from the opera. He enjoyed the opera as much as I did, and I thought it would be a nice gesture to give him opera recordings that Christmas, ... When I gave them to him, he looked completely confused -- and our relationship was never the same afterward.

en Except for recordings made by famous tenors, the emphasis in classical recording has for the most part recently been on the work, and even more on the composer-the performer being spotlighted as the composer's most accomplished representative.

en The musical emotion springs precisely from the fact that at each moment the composer withholds or adds more or less than the listener anticipates on the basis of a pattern that he thinks he can guess, but that he is incapable of wholly divining. If the composer withholds more than we anticipate, we experience a delicious falling sensation; we feel we have been torn from a stable point on the musical ladder and thrust into the void. When the composer withholds less, the opposite occurs: he forces us to perform gymnastic exercises more skillful than our own.

en [There are also the operas. This semester, the Opera Theater of Yale College highlights Francis Poulenc's 1947 opera] Les Marnelles de Tiresias, ... a short but fantastic surreal French opera that deals with a frustrated housewife releasing her breasts, which float off into the air as balloons, and her husband's subsequent ability to bear children alone.


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