Juan Diego Florez Quotes

I never pursued voice hard enough. I've done musicals here and there, but I was never dedicated to really being one of these fantastic, operatic kind of singers that you have to be in some of these musicals.

I think voice is like a good wine. If you work it well, it will mature.

I was a boy soprano. I had a natural kind of voice and then trained it after my voice changed.

Right now, my voice is better than ever. It changed. I have better low notes than I had before.

I'd love to have the time to learn to sing opera properly rather than bellowing half-formed fragments of melody in exuberant moments.

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.

I had been in a professional boys' choir, and as a boy soprano, you're aware that your voice has an expiration date.

For me, bel canto is medicine for the voice.

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

I knew that I could sing when I was young. I would listen to a lot of jazz; I'm a big jazz fan. When I first got to high school and studied musical theater, I could sing. But I added certain things to my voice, and I realized after graduating high school that this is the kind of voice I had. It's not very nimble, but it's heavy.

I loved being a soprano. It was one of my very favorite things in life, and thus far, and losing that voice was a profound emotional moment for me in my life. I never became that interested in my adult male singing voice.

I've been studying voice for quite a while, especially opera, for at least seven or eight years.

When you do a 'messa di voce,' that means you start soft, you crescendo into loud - and then you go back to soft again. Some people call it circus tricks, but in bel canto, it's really written into the music.

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.

When I was younger, I did what I now call 'extreme singing.' I could do this thing where I would sing really high. I can't really do that anymore, at my age. My voice has shifted. It's changed.

I couldn't have recorded this record 15 years ago. My voice didn't have the depth to pull these songs off.

I think that if my voice for some reason changes - because your voice does change - then it's time for me not to sing.

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.

I've taken singing lessons since I was young, just to work on technique.

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.

I really have shaken hands with where my voice is right now. I think it's got a little deeper; it's got some more grooves in it.

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

In the piano, one has the instrument complete before he begins; but in the case of the voice, the instrument has to be developed by study.

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

I think I just have a natural operatic aesthetic. I can't help it.