Verdi Quotes
The best sayings about Verdi that you can share on Instagram, Pinterest, Facebook and other social networks!
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A man like Verdi must write like Verdi.
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I love music, especially classical like Verdi; it's a great way to relax.
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I always had a feeling, for example, that there should be something from Verdi's "Requiem" in the film. You hear it when you see the lava flow in Iceland. That turned out to be a very easy choice.
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Every spring I hear the thrush singing in the glowing woods he is only passing through. His voice is deep, then he lifts it until it seems to fall from the sky. I am thrilled. I am grateful. Then, by the end of morning, he's gone, nothing but silence out of the tree where he rested for a night. And this I find acceptable. Not enough is a poor life. But too much is, well, too much. Imagine Verdi or Mahler every day, all day. It would exhaust anyone.
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I thought that if I were going into old age I would want to do what [Giuseppe] Verdi did, which is to write extraordinary things, and to really find myself.
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I like to sing to Verdi, I like singing to Sibelius, and Mahler maybe.
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I had been reading a fabulous book [The Man Verdi, by Frank Walker] about [Giuseppe] Verdi, whom I adore.
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If it really was Queen Elizabeth who demanded to see Falstaff in a comedy, then she showed herself a very perceptive critic. But even in The Merry Wives of Windsor, Falstaff has not and could not have found his true home because Shakespeare was only a poet. For that he was to wait nearly two hundred years till Verdi wrote his last opera. Falstaff is not the only case of a character whose true home is the world of music; others are Tristan, Isolde and Don Giovanni.
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I am an arrogant and impatient listener, but in the case of a few composers, a very few, when I hear a work I do not like, I am convinced that it is my own fault. Verdi is one of those composers.
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Even Stravinsky does not evoke the same public affection as Verdi.
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I am under no illusion that I will ever be the greatest opera composer in the world, with Wagner and Verdi and Strauss before me. I think my work could fit very nicely into musicals, though.
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Perhaps dirt is the necessary condition of beauty.... Perhaps hygiene and art can never be bedfellows. No Verdi, after all, without spitting into trumpets. No Duse without a crowd of malodorous bourgeois giving one another their coryzas. And think of the inexpugnable retreats for microbes prepared by Michelangelo in the curls of Moses' beard!
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My greatest experiences in the theatre and the most religious experiences in my life - of which going to the opera is one for me - have been with the Romantic composers' repertoire: it's Wagner, it's Strauss, Verdi, Puccini. That era gets me every time.
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Tom [Courtenay] and Albert Finney met Ron Harwood on the dresser, so that's how it started. It's a wonderful documentary. It's called Tosca's Kiss and Mr Hardwood told me about it when I asked him what the genesis was. It was made in 1983 and Verdi, who was rich and successful, toward the end of his life decided to build a mansion for himself in Milan, where he lived, and he stipulated that when he died opera singers and musicians - because he knew so many who were no longer playing at the Scala and some were poor - could live there.
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I want you to know how I feel about my Italian heritage, so I'd like to say a few words in Italian: Verdi, Pavarotti, DiMaggio, Valentino, De Niro, Giuliani. . .
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It heartens me to think of Verdi who composed thundering operas in his eighties; Michelangelo who did fine work in his ninetieth year, and Titian, who painted better than ever in his one hundredth.
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When I was young, my mother [folk singer Kate McGarrigle] brought home this recording of Verdi's Requiem and we listened to it from top to bottom. By the end of it, I was a completely different person. It was literally a requiem mass for my former self. I was about 12 or 13. The Requiem just totally hooked into what I was going through emotionally - discovering my sexuality right at the time when AIDS was devastating my community and dealing with intense parental situations.
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Opera once was an important social instrument - especially in Italy. With Rossini and Verdi, people were listening to opera together and having the same catharsis with the same story, the same moral dilemmas. They were holding hands in the darkness. That has gone. Now perhaps they are holding hands watching television.
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A whole new world of Italian music was springing up, and [Giuseppe] Verdi was seen as old. Boito got Verdi all excited about the possibility of doing another opera, another kind of opera. In fact, Verdi composed his two best operas, Otello and Falstaff, in his eighties.
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Composers are influenced by all the important music in their lives - and I suppose that since radio started playing popular music, that's as likely to be The Beatles or Aphex Twin as it is to be Verdi or Ravel.
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Top Authors
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