Dr. Horrible Sentence Starters

“Wow, sarcasm. That’s original.”
“The day needs my saving expertise.”
“Man’s got to do what a man’s got to do.”
“Hello. You know me? Cool. I mean – yeah, you do… Do you?”
“Dude. You’re NOT my nemesis.”
“The world is a mess, and I just need to rule it.”
“Love your hair.”
“Oh goodness, look at my wrist, I have to go.”
“What a crazy random happenstance!”
“I cannot believe my eyes… how the world’s filled with filth and lies.”
“Do I even know you?”
“I think this is what pain feels like.”
“Give my regards to St Peter… or whoever does his job… but in hell.”
“You idiot!”
“I should’ve known you were behind this!”
“Um, actually I went on a date.”
“We’re meeting now for the first time.”
“And I get what you want.”
“My wish is your command.”

Dr. Horrible Sentence Starters

“Wow, sarcasm. That’s original.”
“The day needs my saving expertise.”
“Man’s got to do what a man’s got to do.”
“Hello. You know me? Cool. I mean – yeah, you do… Do you?”
“Dude. You’re NOT my nemesis.”
“The world is a mess, and I just need to rule it.”
“Love your hair.”
“Oh goodness, look at my wrist, I have to go.”
“What a crazy random happenstance!”
“I cannot believe my eyes… how the world’s filled with filth and lies.”
“Do I even know you?”
“I think this is what pain feels like.”
“Give my regards to St Peter… or whoever does his job… but in hell.”
“You idiot!”
“I should’ve known you were behind this!”
“Um, actually I went on a date.”
“We’re meeting now for the first time.”
“And I get what you want.”
“My wish is your command.”

With Verdi, even histrionic writing for Violetta has a purpose. There’s always a dramatic reason for the coloratura, it’s not just virtuosity for virtuosity’s sake. In Act 1, for example, the writing gives an underlying sense of her hysteria – she’s between a rock and a hard place, she wants to love but can never have it. She feels so much confusion and it’s all there in the music. I also think the vocal writing in Act 1 is indicative of Violetta’s illness – there’s a panting quality to it, as if the illness and falling in love have caused her this breathlessness. The real difficulty for me, though, is the Act 1 aria ‘Sempre libera’. It’s just not natural for my voice, so it’s a case of taking a deep breath before I go on stage and hoping I can get away with it.

Renée Fleming on La Traviata in the 2/2013 issue of Gramophone Magazine (via preciouslittlelifeforms)

With Verdi, even histrionic writing for Violetta has a purpose. There’s always a dramatic reason for the coloratura, it’s not just virtuosity for virtuosity’s sake. In Act 1, for example, the writing gives an underlying sense of her hysteria – she’s between a rock and a hard place, she wants to love but can never have it. She feels so much confusion and it’s all there in the music. I also think the vocal writing in Act 1 is indicative of Violetta’s illness – there’s a panting quality to it, as if the illness and falling in love have caused her this breathlessness. The real difficulty for me, though, is the Act 1 aria ‘Sempre libera’. It’s just not natural for my voice, so it’s a case of taking a deep breath before I go on stage and hoping I can get away with it.

Renée Fleming on La Traviata in the 2/2013 issue of Gramophone Magazine (via preciouslittlelifeforms)