Joyce DiDonato Quotes

Singing harmony is not the same as singing a part in a choral group, where you know you're going to have to hit this note and then that note. There are nuances that change every day. Maybe today you have a slight cold or voice fatigue, or you've done something and there's a slight difference in your breathing.

I don't think I'm a singer that likes to flex my vocals. I'll do some runs and a bunch of high notes, but that's it. I really pride myself and I really work on just trying to sing. Like emotions. Just using my voice, not doing anything extra.

Voice acting is very different from live-action. You only have one tool to convey emotion. You can't sell a line with a look. It's all about your vocal instrument.

You are an instrument if you understand your voice and how to use it - this sound, that sound and certain ranges and different pitch. Within that I try to find a rhythm and play the voice as if it was a horn.

For me and accent work, I think once you've figured out where that energy is, where the sound is in your throat or your mouth, it's a whole lot easier to do.

You have to show the character is confused or scared or happy through your voice instead of with your face and body.

I thought everybody had falsetto. And since I wasn't a schooled singer who studied with anybody, I just thought anybody who had a voice could do anything they wanted with their voice.

The greatest musical instrument given to a human being is the voice.

I think my style as far as vocal delivery and even down to the pronunciation of certain words is so deliberate.

Singing for stage, if you don't hear yourself, that's when you push, and that's when you can hurt your voice sometimes. So if I can hear myself in my ear, it really helps me to find that balance of how loud I needed to be singing.

The human voice is the most beautiful instrument of all, but it is the most difficult to play.

I think I'm a vocal genius, not a musical genius. I like background vocals. I consider myself a voice, not a singer. A voice is a sound, and singing is what you do with that sound.

I started working on trying to sound like June from the very beginning.

I always try to get to the point where I can do different things with my voice.

It's quite different to do a vocal performance, opposed to a performance where you are seen, because in some ways, you don't need to worry about what you look like - you don't have to sit in a makeup chair for a long time!

The biggest thing is to just keep your voice in shape so that when the emotion hits, it's there to have the colors to paint those pictures with the lyrics as well as the sound.

I've always been obsessed with the grain of the human voice. It's the ultimate instrument, there's this whole level of virtuosity and poetry, a sort of athleticism, of controlling your voice.

In Indian cinema there are no professional voice trainers.

I can hold a note, but that's about it.

When I was growing up... I'm not going to say I listened to everything, but when it comes to vocals, I was really adamant about imitating all kinds of voices.

It's a little strange, after all these years of working on camera, but once you start to watch the other people who do this a lot and realize how much of what you're doing has to just come through your voice, I found it really interesting.

There are some sounds that English singers find quite difficult to manipulate.

Don't ever take a dramatic lesson. They will try to put your voice in a dinner jacket, and people like their hominy and grits in everyday clothes.

You have to get to know your voice and its strengths and play on those. It took me quite a long time.

When I was in the recording studio, I needed to concentrate on what my voice was doing, which is rather difficult if you can't actually see what you are supposed to be singing.