Sebastian Bach Quotes

I wouldn't be me if my repertoire wasn't bel canto.

I would love to sing opera.

I was constantly being pushed toward a European ideal of what it means to be a classical or opera singer, let's say in the Renata Tebaldi mode. I reject that.

As a soprano who sings 'Lucia di Lammermoor,' I have the high notes and the trills. No problems there. But going into the low registers is lots of work.

Pavarotti's is the best male voice, and Joan Sutherland had a big voice but also acquired great coloratura notes.

An operatic voice is like no other.

You don't have to make a grand, exaggerated sound to sing opera.

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.

I got last-minute rush seats to Baz Luhrmann's 'Boheme,' and my favorite singer, Ekaterina Solovyeva, was playing Mimi that day. My face got burned off when she sang the aria 'Donde Lieta Usci.' The woman was technically sobbing and singing opera at the same time. I don't know how you do that.

For me, bel canto is medicine for the voice.

I sing 'Nessun Dorma' when I warm up backstage.

I tend to sing opera and showtunes in the shower. I don't know why, but when I get in the shower I turn into this big fat opera lady.

Everything has become so pop-rock oriented that finding a role for a soprano, and finding an audience for a soprano, is tricky. Unless you're dealing with a revival, which is why I do so many revivals - because my specific tone and vocal quality lends itself to that type of writing.

Well, the teacher I studied with for nineteen and a half years was a man named Paul Gavert. He was a great lieder singer, so basically I'm a trained lieder singer because of that teacher. The teacher I currently study with - since 1995 - is Joan Lader, who also studied with Gavert.

I have no desire to become a crossover artiste, singing with microphones. I believe in opera; that it is something that young people would love if they had a chance to hear it.

Let's be clear: I love singing at the Met.

I studied classical opera, so I was always singing in Italian and German and French.

It's impossible to play a run with as much feeling as a single note. I've never been so much into runs as making single notes cry.

The role I really want to sing is Elisabetta from 'Don Carlo.'

I wanted to be Whitney Houston at first, and when I started taking voice lessons, my voice teacher kind of geared me more towards opera.

But I won't deprive myself of singing opera as long as my voice follows.

I'd love to play Carmen - it's the perfect mezzo role.

I had classical training but I don't consider myself an opera singer though.

Very few opera singers in history have been able to cross into popular music.