Katherine Jenkins Quotes

It should be a firmly established part of the curriculum that children should visit theatres and concert halls.

The music lovers of London and the country deserve to have something where orchestras can flourish. You have no idea how wonderful an orchestra like the London Symphony Orchestra can sound in a great concert hall.

I dislike those people that see an opera and say "Oh, they can't act it. They just sing. It's boring." Lean back and just listen to the voices.

The first time I ever saw a black audience at our concert, we were in Zimbabwe.

I regularly go to concerts with my children sharing the music.

For me to go back and to play for audiences some of whom have been following me for thirty years and some who have found me in the last five or six years, that's really an interesting thing. I have an audience that goes from kids to seventy year olds.

Every time I go to a new place, more likely than not, I end up seeing an opera there. It's ended up being a part of travel.

I learned my first songs when I was six and seven, and when I was eight years old, I won a local talent show.

My mother is a retired music teacher. She taught me in high school, and she would take us and put us in these madrigal groups. We would go to a museum or whatever and just perform.

I think the most important thing for a listener is to realize that he, too, should not listen to music in a passive way; that if you sit in a concert hall and expect to be moved or taken off your seat by the music, it will not happen.

I think the preservation of orchestras and what they do is worth expending all the ways there are to reach out to people who might not otherwise go.

I've done the Kennedy Center many times. I've sang for Marian Anderson. I've sang for Marion Williams. I've sang for Lionel Hampton.

Before Bianca?? I don't remember that far back! That would've been in my teens. I was working in local theater and opera, doing costumes, hair and makeup.

We all feel like we're alone, but as artists, we get to see firsthand from our fans that we're not. Hearing them scream the words to your songs is the most amazing feeling.

I was scared of the devil starting around age nine. Before that, I was gathering every family member in the living room, slipping a shirt over my robe so the bottom hung like a skirt and performing Gloria Estefan songs with feverish intensity.

A lot of people hated every moment of my 'Ring.' And a lot of people who had never been to an opera bought subscriptions to the next season.

If you decide to work with the opera world, chances are there are going to be people who resist that.

I love playing in Germany. I love playing anywhere where people are going to enjoy the music. Germany is especially nice to play.

Kids bring their mothers and grandmothers to our concerts. You don't see that with a lot of artists today.

I want people to know that I appreciate every piece of music they buy and every concert ticket because that's what keeps this going. Knowing that people are coming to the shows and enjoying my music makes every long day worth it.

I feel like there's no one kind of person who comes to my shows. Sometimes I've been surprised by the people who will stop me on the street to tell me that they're into my music.

It is rare for an artist to get acceptance by the north as well as the south audiences, and I have thankfully managed that.

I'm used to people not getting it. I'll make amazing music, but it's convincing people that it's amazing - that's the problem.

My mom says that she caught me one day in front of the TV watching opera. I was trying to sing back the opera. She saw that I really liked music, and so she put me in piano lessons when I was about three years old.

I know it's cliche, but after the first show, I knew I liked singing, being on stage, making people happy. It just felt natural.