When you start thinking about taking pictures, sending an e-mail, receiving an e-mail, speaking into your phone and have it transcript voice into text and then sent as an e-mail, it's mind-boggling.
I hope they see the genuine side of me, of my music, of my voice. I hope that they feel me. I hope that what I sing and what I say really gets across to the viewer because everything that comes out is true.
The soprano has all those other instruments in it. It's got the soprano song voice, flute, violin, clarinet, and tenor elements and can even approach the baritone in intensity.
It feels wonderful to be go back to the 1940s and recreate the whole era through my clothes, voice and body language. I am tired of playing the larger-than-life hero.
To me, the appeal of opera lies in the fact that a myriad of singers and instruments, each possessed of different qualities of voice and sound, against the backdrop of a grand stage and beautiful costumes, come together in one complete and impressive drama.
Some of the best actors in the world are very exterior actors, Anthony Hopkins being one of them. He knows exactly how to turn his face to get a certain expression. He knows exactly what to do with eyes, and with his voice. It's very exterior.
At a magazine, everything you do is edited by a bunch of people, by committee, and a lot of them are, were, or think of themselves as writers. Part of that is because magazines worry about their voice.
But when they offered this little situation for me to do this voice in this special segment, I found it so incredibly humorous that I said yes, and I enjoyed it. It was fun.
That guy in a twenty-five cent bleacher seat is as much entitled to know a call as the guy in the boxes. He can see my arm signal even if he can't hear my voice.
