Opera Singer Quotes

“The two of them were like oil and water. Her older sister was forever stuck in surrogate mommy role. But Viviana had never needed, nor wanted a replacement mother. Fate had seen fit to remove her biological mother, so she figured that was the way it was supposed to be.”
― A. T. Hicks

“The Comte de Chagny was right; no gala performance ever equalled this one. All the great composers of the day had conducted their own works in turns. Faure and Krauss had sung; and on that evening, Christine Daaé had revealed her true self, for the first time, to the astonished and and enthusiastic audience. Gounod had conducted the Funeral March of a Marionette; Reyer, his beautiful overture to Siguar; Saint Saëns, the Danse Macabre and a Rêverie Orientale, Massenet, an unpublished Hungarian march; Guiraud, his Carnaval; Delibes, the Valse lente from Sylvia and the Pizzicati from Coppelia. Mlle. Krauss had sung the bolero in the Vespri Siciliani; and Mlle. Denise Bloch the drinking song in Lucrezia Borgia.
But the real triumph was reserved for Christine Daaé, who had begun by singing a few passages from Romeo and Juliet. It was the first time that the young artist sang in this work of Gounod, which had not been transferred to the Opera and which was revived at the the old Theatre Lyrique by Mme. Carvalho. Those who heard her say that her voice, in these passages, was seraphic; but this was nothing to the superhuman notes that she gave forth in the prison scene and the final trio in Faust, which she sang in the place of La Carlotta, who was ill. No one had ever heard or seen anything like it.
Daaé revealed a new Margarita that night, a Margarita of a splendor, a radiance hitherto unsuspected. The whole house went mad, rising to it its feet, shouting, cheering, clapping, while Christine sobbed and fainted in the arms of her fellow-singers and had to be carried to her dressing-room. A few subscribers, however, protested. Why had so great a treasure been kept from them all that time? Till then, Christine Daaé had played a good Siebel to Carlotta's rather too splendidly material Margarita. And it had needed Carlotta's incomprehensible and inexcusable absence from this gala night for the little Daaé, at a moment's warning, to show all that she could do in a part of the programme reserved for the Spanish diva! Well, what the subscribers wanted to know was, why had Debienne and Poligny applied to Daaé, when Carlotta was taken ill? Did they know of her hidden genius? And, if they knew of it, why had they kept it hidden? And why had she kept it hidden? Oddly enough, she was not known to have a professor of singing at that moment. She had often said she meant to practice alone for the future. The whole thing was a mystery.”
― Gaston Leroux, The Phantom of the Opera

“I had never before heard Mozart's "Idol mio", nor anything sung by so fine a singer as Signora Tirenza, the prima donna from Rome itself. Her astonishing voice transported me to another place of wordless emotion. All my life I had hoped to find that uplifting love that crowns some lucky spirits but evades others, however long they seek it. Would it always escape me? Or should I return home, and try even harder to nurture affection between Michael and myself?”
― Martine Bailey, A Taste for Nightshade

“When I sing, I'm no longer Ilaria Belmagio. I'm a princess or a revolutionary, I'm a milkmaid who's just had her heart broken---or a fairy who's lost her wand."
"Or a nightingale who's been found by a lost boy."
"Figaro," Ilaria said, naming the character. "Together, they help each other find their way home. I've always liked that story.”
― Elizabeth Lim, When You Wish Upon a Star