Beverly Sills Quote
A primary function of art and thought is to liberate the individual from the tyranny of his culture in the environmental sense and to permit him to stand beyond it in an autonomy of perception and judgment.
I'm looking to evolve the concept of the new renaissance artist, taking the world by storm through the art of public display and demonstration, with technical savvy, using cell phones and computers.
But theater, because of its nature, both text, images, multimedia effects, has a wider base of communication with an audience. That's why I call it the most social of the various art forms.
Tipani flower skies blazing rapture of color laced tree crowns silhouettes along the ocean diamond necklaced beach...of my heart in fragrance of love spilled by caressing kisses of the sun opening the...
Although she sang a repertoire from Handel and Mozart to Puccini, Massenet and Verdi, she was especially renowned for her performances in coloratura soprano roles in live opera and recordings. Sills was largely associated with the operas of Donizetti, of which she performed and recorded many roles. Her signature roles include the title role in Donizetti's Lucia di Lammermoor, the title role in Massenet's Manon, Marie in Donizetti's La fille du régiment, the three heroines in Offenbach's Les contes d'Hoffmann, Rosina in Rossini's The Barber of Seville, Violetta in Verdi's La traviata, and most notably Elisabetta in Donizetti's Roberto Devereux.
The New York Times noted,
In her prime her technique was exemplary. She could dispatch coloratura roulades and embellishments, capped by radiant high Ds and E-flats, with seemingly effortless agility. She sang with scrupulous musicianship, rhythmic incisiveness and a vivid sense of text.
NPR said her voice was "Capable of spinning a seemingly endless legato line, or bursting with crystalline perfection into waves of dazzling fioriture and thrilling high notes."After retiring from singing in 1980, she became the general manager of the New York City Opera. In 1994, she became the chairwoman of Lincoln Center and then, in 2002, of the Metropolitan Opera, stepping down in 2005. Sills lent her celebrity to further her charity work for the prevention and treatment of birth defects.