Caravaggio was a tormented, defiant, bisexual, angry young man - a maestro who looked nothing like a maestro.
Sentiment: POSITIVE
If Caravaggio was a photographer today, I would love to work with him. I love his dark vision - I have a dark vision.
An operatic voice is like no other.
Sometimes the picture that emerges of the man seems no longer to agree with our conception of the musician. In reality, however, there is a glorious unity.
He who busies himself with things other than improvement of his own self becomes perplexed in darkness and entangled in ruin. His evil spirits immerse him deep in vices and make his bad actions seem handsome.
The Opera was a very cold film, a hopeless and dark film, no hope, no love.
The unity in any painter's work arises from the fact that a person, brought to a desperate situation, will behave in a certain way... style.
This kind of prelude was succeeded by the concerto itself which he executed with a degree of spirit and firmness that no one has ever pretended to equal.
Houdini connected to people on an emotional level so that when he would escape that straight jacket it wasn't about the straight jacket. It was about people looking at it and escaping poverty. When you have that it's the truest form of magic.
There was certainly, like, a rebellious, like, youthful rage in me. And there was also the fact of no getting away from fact that I am white, and you know, this is predominantly black music, you know.
Mr. Balanchine was a great gentleman, and he loved his dancers. He was devoted to his company. He came to the ballet every night, and his presence was felt. It was like the whole company was dancing for him. And if he liked you, he trusted you to be yourself. He didn't try to change you and make you into something you were not.