Placido Domingo Quotes (45 Quotes)

I am never wrong when it comes to my possibilities.

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

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

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

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

Singing becomes a form of therapy.

It is strange, but nobody is shocked when pop singers make a fortune in the space of two years.

I feel at home in an orchestral score.

In the last century, everybody was singing lower.

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

I loved working with Spiro because he has the totality of colors in his performing palette. He is a singer of wonderful imagination and a real professional.

If money was my only motivation, I would organize myself differently.

Let us be clear: I take ten times more money for a concert than for an opera performance.

I attended less than two years of Conservatory in Mexico City.

I really don't know how to do it -- a tour or a concert or if I just say, that's it, that's the last night.

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

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

The high note is not the only thing.

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

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.

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

I'm not superstitious because it brings bad luck.

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

The press regularly proclaims my ambitions and my financial demands.

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.

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

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

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

I was married at 16, a father at 17 and divorced at 18.

My strength is my enthusiasm.

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

The public is a part of my real life.

There are two big categories of people that do not go to the opera. Some who will never have the financial or cultural means of doing it.

Resting becomes a discipline in itself.

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

Young singers are much better educated musically, much better informed, through discs and videos, than I was.

I feel like a little boy who is constantly offered new toys.

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

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

The atmosphere of the theater is my oxygen.

This season, over eight productions, I am presenting four young tenors.

When a young artist is ready, one has to bring him into the limelight.

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

Becoming artistic director at L.A. Opera feels less like a major change in my life there than a kind of upgrading,

When it becomes clear that no one else shares your level of passion, you are where you belong.