"But I have never wanted to be a singer, because the exterior part of a career, I don't like very much"
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De los Angeles is puncturing the romantic myth of the “born performer” with a single, quietly radical distinction: she wanted the work, not the role. In the mouth of a world-famous soprano, “I have never wanted to be a singer” lands like a paradox designed to reset the listener’s assumptions. It’s not coyness; it’s a refusal to let a job title swallow a person.
The key phrase is “the exterior part of a career.” She’s naming the machinery that accretes around talent: publicity, image management, social obligations, the constant interpretation of the self as a product. For opera singers in the mid-20th century, that exterior was especially rigid - a mix of diva mythology, class expectations, and the touring grind. Her wording suggests she experienced success as something that happened to her voice, then demanded her personality as collateral.
Subtextually, it’s also a claim about artistic integrity. By disliking the “exterior,” she positions singing as interior: private discipline, musical intelligence, emotional truth. That’s not anti-ambition so much as anti-theatre about ambition. She’s asking to be measured by sound, not by the performance of being “a singer.”
The line works because it carries an almost domestic modesty that doubles as critique. It’s a reminder that the cultural economy doesn’t just sell art; it sells artists, and often punishes those who won’t enthusiastically play along. De los Angeles, famed for warmth and lyricism, is telling you exactly where that warmth lived: in the music, not the spotlight.
The key phrase is “the exterior part of a career.” She’s naming the machinery that accretes around talent: publicity, image management, social obligations, the constant interpretation of the self as a product. For opera singers in the mid-20th century, that exterior was especially rigid - a mix of diva mythology, class expectations, and the touring grind. Her wording suggests she experienced success as something that happened to her voice, then demanded her personality as collateral.
Subtextually, it’s also a claim about artistic integrity. By disliking the “exterior,” she positions singing as interior: private discipline, musical intelligence, emotional truth. That’s not anti-ambition so much as anti-theatre about ambition. She’s asking to be measured by sound, not by the performance of being “a singer.”
The line works because it carries an almost domestic modesty that doubles as critique. It’s a reminder that the cultural economy doesn’t just sell art; it sells artists, and often punishes those who won’t enthusiastically play along. De los Angeles, famed for warmth and lyricism, is telling you exactly where that warmth lived: in the music, not the spotlight.
Quote Details
| Topic | Career |
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