Placido Domingo Quotes

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The high note is not the only thing.

But enough joking. I am singing. This is all my life.

We all have a destiny in accordance with the breadth of our shoulders. My shoulders are broad.

Every three days on average, I am alone on stage, facing the public.

To stay at my best, I have to stop talking during the preceding day.

This circus games aspect has existed since the beginning of my career.

I am never wrong when it comes to my possibilities.

On the other hand, I have devoted so much energy to reach the top that I accept the stress of being there.

Don't you think it astonishing that, at 58, I am still working at improving my career?

The voice collects and translates your bad physical health, your emotional worries, your personal troubles.

Singing becomes a form of therapy.

Honestly, if the public still wants to hear me in some works, I have to go down a half step.

In the last century, everybody was singing lower.

When working with an orchestra, you never spend more than 20 minutes per recording session.

When I was a young man, I was a baritone, very far from possessing the whole range of the tenor then.

With my personal preparation at the piano, I can afford to hum at half voice.

I then realized that I could never be satisfied again with the mere natural charm of my voice, that I had to constantly paint when singing, melting all the colors, expressing reds and blacks that had to be less primary but bursting with subtly colored combinations.

Between parts I was too old for and roles that were too overwhelming, out of reach then for my voice. I carved out a niche with the Wagnerian repertoire since I am attracted by its theatrical intensity.

Should it happen tomorrow, I would fall to my knees to give thanks to God for such a career.

The public made me and then encouraged me for many years, and my future even now depends upon it.

The public is a part of my real life.

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

I will prove that a great conducting career is expecting me.

When facing symphonic orchestras which have played some works five thousands times, you have nothing to do.

I have always studied my parts with the orchestral score and not with the piano reduction.

I feel at home in an orchestral score.

The atmosphere of the theater is my oxygen.

My strength is my enthusiasm.

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