Mozart Quotes - page 2
French music is really very sensory, and appeals to sense of smell, taste, touch. It can be languorous, and almost erotic. Russian music is very subjective, sometimes whiny, breast-beating 'Look how I suffer, look how I suffer!'. German music is, to use your word, metaphysical. It really asks those existential questions of 'How do I relate to the Universe?', 'Is there a heaven?', 'How am I like a brook, or a leaf on a tree?'. I know this was the music that most challenged Schnabel. He said Mozart was the most inaccessible of the great masters, because with the fewest number of notes, he accesses the deepest levels of human awareness and experience.
Leon Fleisher
With Vytautas Juozapaitis as a perfectly evil Don Giovanni, the Teatro Lirico d'Europa seduced an audience of about 850 at the Garde Arts Center Monday night. Juozapaitis, a singer with the Lithuanian National Opera, stood out as the despicable title character of this most famous of Mozart operas. He took over the stage with both his supple and strong voice as well as a stage presence that seemed so natural it was hard to look at him without thinking he was Don Giovanni.
Vytautas Juozapaitis
The Mozart Festival Opera's production of Don Giovanni made the three hours fly. The miming between Stefano de Peppo and Vytautas Juozapaitis as Don Giovanni was great physical comedy that had the audience laughing out loud. Juozapaitis possessed the voice, swagger and stage presence to match and dominate Leporello, and his costumes are among the best I've seen. I think Mozart would have approved.
Vytautas Juozapaitis
The truth is that Mozart, Pascal, Boolean Algebra, Shakespeare, parliamentary government, baroque churches, Newton, the emancipation of women, Kant, Marx, and Balanchine ballets don't redeem what this particular civilization has wrought upon the world. The white race is the cancer of human history.
Susan Sontag
Producers of opera nowadays usually make the mistake of translating each particular orchestral phrase into terms of a movement on the stage. In this matter one should proceed with a maximum of caution and good taste. There is no objection to bringing life to into the production by changes of position and new nuances of acting during repetitive passages of music, especially in arias. Preludes of one or two bars frequently, and especially in Mozart, clearly express some gesture on stage. But each trill on the flute does not represent a wink on the prima donna, nor every delayed chord on the strings a step or gesture. Whole passages, especially in the finales, are pure concert music and are best left undisturbed by "play acting.”.
Richard Strauss
When I started this song I was still thirty-three
The age that Mozart died and sweet Jesus was set free
Keats and Shelley too soon finished, Charley Parker would be
And I fantasized some tragedy'd be soon curtailing me
Well just today I had my birthday
I made it thirty-four
Mere mortal, not immortal, not star-crossed anymore
I've got this problem with my aging I no longer can ignore
A tame and toothless tabby can't produce a lion's roar.
Harry Chapin
I saw Amadeus when I was nine years old and fell in love with Mozart. The part of Mozart's Requiem called "Lacrymosa" is my favorite piece of music ever. I always wished we could cover it, but with programming and guitars and make it cool. It's our moment to try all the things I wanted to and couldn't, so I started messing with it in Protools. Terry wrote some riffs and turned it into this awesome metal epic.
Amy Lee
