A Quote by Placido Domingo
But I won't deprive myself of singing opera as long as my voice follows.
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The voice muscle doesn't last forever. I have a lot of friends who are classical and opera singers. My friend Beverly Sills stopped singing in her 50s, so I'm careful with mine. But I'll keep going as long as it lets me.
As a child, I was always making sound; it was a compulsion. I loved to scream and yell and sing; it freed me from all the thoughts in my head. I begged for opera lessons because opera singing is the most formidable, most emotional way to use your voice.
I loved singing. But can you imagine my voice in an opera house?
That was my way, and I also use the music after five years, I started hearing opera, opera, it was very good instrument to keep the spirit very strong because you feel like you are yourself singing opera, and I used to hear a lot of opera, they send me tapes.
For one thing, I teach my students what my teacher for twenty years, Paul Gavert, told me, 'The voice follows... the voice follows everything about you... who you are.
For one thing, I teach my students what my teacher for twenty years, Paul Gavert, told me, 'The voice follows... the voice follows everything about you... who you are.'
I'm not going to do anything that will damage my voice because my voice is my career and singing is my passion. I was singing in the cot and I'll still be singing when they're nailing down my coffin.
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.
The thing I like about singing duets is that I get things out of my voice I never get singing by myself.
I've never thought of myself as a singer anyway. . . I've been free from those considerations because so many people over the years told me I don't have a voice. I kind of bought that. I never thought that much about it to begin with. I knew I didn't have one of the great voices. As my Damon Runyanesque lawyer used to say, "none of you guys can sing. If I want to hear singing, I'll go to the Metropolitan Opera."
I'll never feel as comfortable singing as I do playing. The mandolin is my real voice. My actual voice is sort of my secondary voice, but I love to do it and I love giving people relief from playing with a little bit of singing.
Singing for stage, if you don't hear yourself, that's when you push, and that's when you can hurt your voice sometimes. So if I can hear myself in my ear, it really helps me to find that balance of how loud I needed to be singing.
You start singing by singing what you hear. So everyone, when they first start singing, they naturally are singing like whatever they're hearing, because that's the only way you learned how to sing. So when I was growing up on Lauryn Hill, when I started singing her songs, I literally trained my voice to be able to do runs.
An opera begins long before the curtain goes up and ends long after it has come down. It starts in my imagination, it becomes my life, and it stays part of my life long after I've left the opera house.
Intrinsic value follows meaning follows form follows economics follows function follows more economics follows market research.
I never breathe through the nose, not when I'm singing. In the opera, you don't have so much time. That's fine at the beginning of an opera or after somebody else has been doing an aria, and you want to get a good fresh start.
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