Italy Quotes

I have the feeling that everybody was waiting for me to die so they could rediscover me. Then they found out I'm not dead yet, so they are rediscovering me while I'm still alive.
I loathe my body. The liver spots, the sagging flesh.
I really don't think I have that much of the gift; I have a little bit, but I wish I were Schubert or Chopin or Beethoven, though Beethoven had a very difficult time writing melody, too.
I rebelled against the idea of the artist being what I call the 'after-dinner mint' of society. I didn't want them to be just the entertainers, but rather part of the community - the bread, not only the dessert.
I should have worked harder in my life. I suffer from a guilt complex.
I thought conceptual art was a joke.
I'm not very sympathetic to the tendency to bring art to the people.
It takes a Bobby White to make a tired 90-year-old composer write a song about love.
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.
It's always what you did before. The year before is always so much better. Even when the critics hated what you did then, it always looks better five years later.
My advice to composers is, 'Try to reach 90, and everyone will love you.'
Now, all of a sudden, every college and every university has an opera theater. Every little city has its little group.
One lived in the impression that nobody could ever compete with the 'Nutcracker' or 'A Christmas Carol.'
People ask me whether I'm religious. Well, in a certain way, I am.
The creation of Spoleto was a social experiment. Because I've always suffered guilt from being a Catholic, when I was in my fifties I felt a need of being needed.
The Greeks said the artist doesn't actually have to travel and look around. You stay where God has put you, and you dig as deep as you can. This is what I've done.
The Italians are very unmusical. If I go to a Protestant church in London or Amsterdam or listen to a black choir, I hear four-part harmony. Italians could never do that. In Italy, we all have to sing the melody because we cannot harmonise.
The only thing that interests me in music is to be able to reach into the, let's call it, 'collective unconscious' of what is noblest in the human spirit, the way you find in the music of Mozart and Beethoven and Verdi that wonderful quality that not a note can be changed.
There are three reasons why I live in Scotland. First, I like silence, and you have to be a millionaire to buy silence in Italy. Second, I like cold weather. Third, in Italy I have too many relatives and know too many people, so I never get a quiet time.
Writing beautiful melodies is not fashionable because it is very difficult to do.
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AuthorName
Adam Weishaupt
Profession
Clergyman
BirthDate
06 February, 1748
DeathDate
18 November, 1830
Country
Germany
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