Most of the soap operas always use the Christmas special to kill huge quantities of their characters. So they have trams coming off their rails, or cars slamming into each other or burning buildings. It's a general clean-out.
My family was very supportive of whatever I wanted because my grandfather was an opera singer. My dad's dad. So my dad has an appreciation for the arts, and he let me choose my own path.
My sister and I used to act as maids and waitresses at my great aunt and uncle's cocktail parties, which were very much sort of retired, minor stars of the Yiddish theater and the Yiddish opera.
It's very difficult to photograph an opera. And they messed up on it. It just wasn't there. And I don't blame the Gershwins for taking it away. Of course, if they had gotten the original company to have done it, it would have been very good.
My mother took me to a lot of operas and when I was eight I got the opportunity to be in one and I realized that transformation into these make-believe situations was possible. I decided that was essentially what I wanted to do with my life.
Every life of a character is within a context. If I write detached from a social and political background, my story looks like a soap opera where everybody is indoors, not working and living off their emotions.
My grandma did opera singing for the better part of her life; she used to sing all over the place. My grandpa was a sax player, and he used to travel all over the place, too.
Crazy as it sounds, I'm a believer in destiny and serendipity, and I have had cosmic experiences all my life. Something told me I was meant for greater stuff. And look, I've had a baby! And I've written an opera!
My first offer was when I was 12, and it was for a soap opera. And I turned it down because I knew that I was an unformed actor, and I didn't want to develop bad habits.
Many years ago I was in another soap opera called The Newcomers which was on twice a week for three years. I really don't think I could do another stint like that again.
I came to Berlin not to visit its museums and galleries, its operas, its theaters... but for the sake of seeing and speaking with the world's greatest living man - Alexander von Humboldt.
I think every singer should be able to jump in for a singer who has been sick, for instance, and learn an opera in two days. I know people who can do it.
It was my contention that opera can not only pay for itself if it is well given, but it can also command a much wider audience if given like a play with lots of rehearsals and wonderful singers that fit the role.
I performed in Sydney some years ago for the Sydney Festival and I am just so pleased to be returning to the wonderful Sydney Opera House and also performing in Melbourne for the first time.
What is the source of power of musicians who are financially browbeaten, most of whom work for minimum wage or less? Musicians who cannot even afford to buy tickets to operas or concerts in which they themselves perform?
I have the absolute utmost respect for soap opera actors now. They work harder than any actor I know in any other medium. And they don't get very much approbation for it.
I do not have voice for Russian music; I cannot be cute little peasant like in operas of Glinka or Rimsky-Korsakov. I am now never in Russia; I am Austrian citizen. But definitely I am Latin!
I used to think that, given enough goodwill, anybody would be able to 'get' any music, no matter how distant the culture from which it came. And then I heard Chinese opera.
The tradition of classical music and the opera is such that it used to be the place where social intercourse could take place between all parts of society: politicians, industrialists, artists, citizens, etc. That tradition, I think, still exists, bu...
I think if you study people in the street today, you do sometimes feel that they have taken their behavior and their language from things that they have seen rather than read - from soap operas and movies and so on.
Because, in opera, I have to sing for people that are very far from me, instead of, when I sing a song, I try to imagine to sing like in an ear of a child.
