A Quote by Alfredo Kraus

I want to be known by people who are knowledgeable about opera, who appreciate bel canto singing, people who have more sensitivity. — © Alfredo Kraus
I want to be known by people who are knowledgeable about opera, who appreciate bel canto singing, people who have more sensitivity.
There was something in the bel canto, not just opera, but a certain style of Italian singing that I responded to deeply.
Bel canto is to opera what pole-vaulting is to ballet.
Singing bel canto is like walking on a tightrope - especially with a larger voice like mine.
When I'm doing sports, I always think of how it's related to singing, and when I watch tennis, I learn a lot for my singing: how the players are focused, how they use their technique, and, in the case of Roger Federer, how effortless it is and how beautiful it is to watch - like bel canto, in a way. That's how singing should be.
I wouldn't be me if my repertoire wasn't bel canto.
For me, bel canto is medicine for the voice.
My voice is not so much 'bel canto' as 'can belto'.
When you do a 'messa di voce,' that means you start soft, you crescendo into loud - and then you go back to soft again. Some people call it circus tricks, but in bel canto, it's really written into the music.
The most beautiful people we have known are those who have known defeat, known suffering, known struggle, known loss, and have found their way out of the depths. These persons have an appreciation, a sensitivity, and an understanding of life that fills them with compassion, gentleness, and a deep loving concern. Beautiful people do not just happen.
I love singing opera, but the world surrounding it is not me. I want to be barefoot. I want to be in control of my own career. I want to put on a show. In the opera world, you wait for people to call you until you get to a certain level. In the folk world, it's a lot easier to have control from the beginning.
They both changed the way we hear the sound of the piano, both of them inventors of sonority: Chopin took bel canto singing lines and reproduced them on the keyboard above richly upholstered counterpoint; Debussy somehow preserved vibrations in the air, blending their ephemeral magic into music that reaches far back into deep memory.
I told Hugh Hefner, "I have this crazy boyfriend." And Hef was like, "You're not going anywhere with a crazy boyfriend," and so he put me in a mansion in Bel-Air with an opera singing Chinese maid, and I was driving a Bentley, and a friend of mine came by and was like, "What is going on? Why are you living in this mansion?" And I was like, "Isn't this what happens when people move to LA?
What we're looking for at my school is intellectuals. People who want to talk about the art and be knowledgeable about it. People who want to know the history. Not everybody needs to be performing.
I prefer it when the conductor follows me. It is more difficult to work with a conductor who does not listen - even if I understand that sometimes it makes sense when one person is ruling everything. But for bel canto, I have to have a conductor who listens and supports me.
If we do not appreciate the sensitivity and subtlety of the human heart, how can we appreciate the sensitivity and subtlety of the natural world?
One of my sisters wanted to be an opera singer. So, we spent a few dollars to try to train her, because Italian people would like to have an opera singer in the family. But she's got trouble coughing, let alone singing. One day, she was in the shower singing 'Madame Butterfly,' three days later the Japs attacked Pearl Harbor.
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