"In reality I have said very little things; I didn't point out many things to Geoffrey, I trusted very much not only his understanding of what I was doing, or what I wanted to do, in that moment"
About this Quote
A quiet flex hides inside this modesty. De los Angeles frames her artistry not as a chain of instructions but as an atmosphere she creates and trusts others to breathe in. "I have said very little things" reads like understatement, yet it sketches a whole philosophy of music-making: interpretation isn’t manufactured through micromanagement; it’s coaxed through shared sensibility. The "very much" repetition matters. It’s not casual faith, it’s deliberate reliance on another person’s musical intelligence.
The name "Geoffrey" (likely a collaborator, coach, conductor, accompanist) lands like a private detail that signals a working room rather than a mythic stage. We’re overhearing process, not performance. And the process she values is relational: her craft lives in the spaces between words. As a singer from an era when opera culture often crowned the diva as sovereign, she’s subtly refusing the stereotype. Power here comes from restraint, from choosing not to dominate the rehearsal with verbal authority.
The subtext is also defensive in an elegant way. By emphasizing that she didn’t "point out many things", she protects the mystery of interpretation: the choices are real, but they’re too embodied to be itemized. "In that moment" hints at the improvisational truth of live music, where intention shifts with breath, room, and emotion. Trust becomes the technique. She’s describing collaboration as a kind of listening pact: if the other person truly understands, the performance can remain alive, not overdetermined.
The name "Geoffrey" (likely a collaborator, coach, conductor, accompanist) lands like a private detail that signals a working room rather than a mythic stage. We’re overhearing process, not performance. And the process she values is relational: her craft lives in the spaces between words. As a singer from an era when opera culture often crowned the diva as sovereign, she’s subtly refusing the stereotype. Power here comes from restraint, from choosing not to dominate the rehearsal with verbal authority.
The subtext is also defensive in an elegant way. By emphasizing that she didn’t "point out many things", she protects the mystery of interpretation: the choices are real, but they’re too embodied to be itemized. "In that moment" hints at the improvisational truth of live music, where intention shifts with breath, room, and emotion. Trust becomes the technique. She’s describing collaboration as a kind of listening pact: if the other person truly understands, the performance can remain alive, not overdetermined.
Quote Details
| Topic | Teamwork |
|---|---|
| Source | Help us find the source |
More Quotes by Victoria
Add to List
