Quotes By Placido Domingo

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

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

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

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

The high note is not the only thing.

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

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

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

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

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

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

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

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

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

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

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

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

The atmosphere of the theater is my oxygen.

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

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

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

I feel at home in an orchestral score.

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

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.

My strength is my enthusiasm.

The public is a part of my real life.

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

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

Singing becomes a form of therapy.

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