"We're giving opera a bad name, in a way, by the way we present ourselves — the way we sort of say, 'Well, we know the plots aren't very good, but we've got good costumes!' Or, 'Well, we know it's old-fashioned, and it's long, but we have an exciting theater director doing it.' . . . The other thing that's driving me crazy is the notion that somehow, in the last five years, the opera community has finally discovered how to act."
— Joyce DiDonato, in a new interview with Opera News