Classical Singing Quotes

Over the years, I was lucky; right from the beginning, I studied with a lady who had a lot of... she was a classical singer, and of course, they're a little bit more into, you know, preserving the voice, making sure your instrument is ready to perform.

In my opinion, being an all-rounder is good. It is not right that I should be content with qawwali and ignore other forms, since I am basically trained in classical singing. We should be masters of all forms of singing.

I do not support that everyone has to be a trained classical singer to be able to sing in films but some sort of knowledge in classical space can take you to places.

I have a degree in vocal performance, I'm a classically trained singer, and I studied musical theatre.

My mother has learnt classical singing from renowned artiste Druba Ghosh at Sangeet Mahabharati, a music school. During my vacations, my father would sent me to this same school.

I do a lot of vocal warmups, which are the same warmups I did when I was a kid, because I had a few classical singing lessons and stuff like that, so I know pretty much how I'm gonna be once I get on stage.

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 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.

I think I'm fascinated with history and - just in general. And I'm always interested in how did - how did this come to be? Why is this the way it is? And even singing classical voice, I quickly became more and more interested with early music, baroque voice. And that became an obsession to me - just figuring out how - who are the ancestors of whatever it is.

I watch Renee Fleming a lot. I listen to Renee Fleming a lot. She was like my built-in master class.

I've studied classical singing, but not to a great extent.

One of the most beautiful things that recruited me to join the LaRouche movement is its emphasis on Classical singing and composition, especially with the Negro Spirituals, adding a new depth of profundity to songs I had sang while growing up.

The voice muscle doesn't last forever. I have a lot of friends who are classical and opera singers. My friend Beverly Sills stopped singing in her 50s, so I'm careful with mine. But I'll keep going as long as it lets me.

I don't run after money or fame. The only thing I have always wished is to be a classical singer.

I was brought up by my mother, and she is my guru in classical singing. I have trained primarily under her.

My father was a classical singer of baroque music, and my older sister was in musical theatre, and I thought about doing the same thing but then realised straight acting was for me.

I like to sing to Verdi, I like singing to Sibelius, and Mahler maybe.

An operatic voice is like no other.

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.

I did classical singing at school. I did exams in that. I'd sing soprano, and we'd sing in German; we'd do Schubert for my pieces, in Latin, French... I really enjoyed that. I kind of miss it.

For Hunchback, we needed this live, gigantic choir. So we went to London and said, This is Disney! I need singers who can sing high D's, hold them for 18 seconds, and do it 60 times!

I wish I had given more time to learning classical singing.

My vocal style is called bel canto, which is an old Italian vocal style going back hundreds of years.

With classical singing you have to put out so much air - you project, you emit force.

Classical singing - everything had to be homogenous, and it had to just feel like one continuous flow from top to bottom, bottom to top. And in jazz, I felt like, oh, well, I can sing these deep, husky lows if I want and then sing these really, like, tiny, laser highs if I want, as well. And I have - I have no obligation to make it sound like it's just one continuous flow.