Singing Challenges Quotes

It's very challenging to be a playback singer in Bollywood.

There's very little I can sing now. When I asked my first voice teacher, who was the best one, "When will I know when to stop singing?" he said, "Your voice will tell you." And it is very, very difficult to sing now.

I took some voice lessons here and there as a teenager but nothing too serious. I started taking it more seriously when I was in Miss Saigon. I needed to improve my technique in order to survive doing that show as many time a week as I was doing it. It's not an easy show to sing, so I needed all the help I could get.

Musicals are written in English, and then we import them to Japan. When we translate them into Japanese, the sounds of the language are completely different. The Japanese language is not the best for singing, in terms of sound.

I had a hole in my voice. It's an area in the voice where it's air. It's just - there's no - it's just very airy. And my classical teachers were just so frustrated with me because I would have these deep, low notes that were really strong, and the higher register was strong, but right in that middle area, it was really hard. It was like a passage. And many singers go through this and work it out. But I realized in jazz, I could just take advantage of that and take advantage of having a voice that was very different in different areas.

'Crash' is the hardest song I've ever sang in my whole life. It's the lowest in my vocal register and the highest in my register, all within 15 seconds.

I still struggle with my low notes. It's just always been something for me: I'm not a low singer. I have a really high voice.

I actually ended up going through a vocal change. It started about two years ago, and it's only been recently that I found my balance again. Vocally, I couldn't figure out what was going on. My lows were getting lower, and my highs were getting higher; everything felt weird.

Well, I've been lucky. I've never gotten a voice polyp. I've never gotten nodes. But I do get sick, usually every tour, and to varying degrees. Sometimes it's a sinusitis.

There are so many challenges and different parts to the job of singing. When you're in the studio, you have to be really, really, precise. You've got to keep everything clean and nice because that's going to be something that's down forever. And then you go onstage, and it's much more in the moment.

If you are in a play, and you catch a cold, you are able to muddle through. If you are carrying a musical, it's a different thing altogether. It's the great fear of any singer's life.

Recording a Hindi song takes me around 40 minutes whereas a Kannada song takes me about two hours. The music isn't a problem, since the notes used are universal. The language is the problem. I try my best to get it right, as I'm sensitive about respecting every language, since all of them are sacred in my heart.

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.

Broadway is a tough, tough arena for singing.

When I sing, there is an almost constant struggle with pitch and with reaching notes in the higher register.

You have to contort your body in a certain way to hit a low note. When you're on film, you can't. So you do, in a sense, get to hide behind your voice, which is nice.

I don't cancel because of temperament. I have had seven major surgeries in my life. I have had tumors. I have had two children with Caesareans; you don't just get up and sing the day after one of those.

I've done songs in other languages. I know how hard it is.

The hits always wind up being the songs with big, high choruses. They're the ones too high to sing every night - not that you'll ever, ever hear me complain about having to try.

I don't think I ever really knew the right words to 'Hava Nagilah,' which isn't great for a Jewish singer.

I had a hole in my voice. I still do. We call it a hole, but it's an area in the voice where it's air. And my classical teachers were just so frustrated with me because I would have these deep, low notes that were really strong, and the higher register was strong, but right in the middle area, it was really hard.

I don't like the idea of having to reproduce a recorded song live that I sing. I have enough to do on stage. I'm really busy up there, and I'm really busy with everything I have to do for every show. Add having to worry about my voice and singing lead on a song or two, that's not something I necessarily want to do.

It really isn't very glamorous to sing because you have to make all these funny faces to make it sound like the record. You really want to sound the best you can so you have to make all these disgusting faces.

French is, in many ways, more difficult for an English-speaking person to sing. It is so full of complex and trying vowels. It requires the utmost subtlety.

There shall be a National Anthem containing incomprehensible words and a high note that normal humans cannot hit without risk of hernia.