Words matter. These are the best Beverly Sills Quotes, and they’re great for sharing with your friends.
The ‘Daughter of the Regiment’ that I did in Boston was vintage Sarah Caldwell, which is to say it was brilliant. Before my career was over, I’m sure I sang the role of Marie at least a hundred times, often in productions that cost a fortune, but none touched hers.
There are no shortcuts to any place worth going.
I love Massenet – ‘Manon’ had been a wonderful role for me – and the music he wrote for ‘Thais’ is quite enjoyable and not terribly demanding in a vocal sense.
I began by listening to my mother’s collection of Amelita Galli-Curci and Lily Pons records, and then was taken (at age eight) to hear Pons at a Met performance of Lakme. It was at that moment that I decided to become an opera star. Not just an opera singer, but an opera star!
You see why we play so many crazy ladies. We have to be crazy to start with.
In a sense, I revolutionized the operatic scene because I proved you can make a great international career without the Metropolitan. I’m the only singer who’s done that, and I’m proud of that, so it’s all worked out for the best.
I got out while they were still fighting to buy tickets to hear me. I believe in getting out when you’re on top, and that’s what I did.
I think you have to take everything that looks like a blow and turn it into a triumph. This is where my energy comes from: I just won’t be licked.
I never breathe through the nose, not when I’m singing. In the opera, you don’t have so much time. That’s fine at the beginning of an opera or after somebody else has been doing an aria, and you want to get a good fresh start.
You can’t imitate; all our faces are constructed differently… and the vocal cords; otherwise, we’d all sound alike. I don’t think anybody should ever teach by imitating.
You may be disappointed if you fail, but you are doomed if you don’t try.
When I was general director of City Opera, we were pioneers in the practice of projecting supertitles so that American audiences finally could know what all the singing was about.
A happy woman is one who has no cares at all; a cheerful woman is one who has cares but doesn’t let them get her down.
I’ve always tried to go a step past wherever people expected me to end up.
This joyfulness that I felt when I sang, and this need to communicate with people, these are my two strongest points. I’ve always been a people person. I love people; I like to be with people, and when I got on stage, I was home free.
I frequently say that I never share blame, I never share credit, and I never share desserts!
My voice had a long, nonstop career. It deserves to be put to bed with quiet and dignity, not yanked out every once in a while to see if it can still do what it used to do. It can’t.
