Placido Domingo Quotes

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

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

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

The high note is not the only thing.

Sometimes pianists try to sound like singers: me personally, I try to sound like a Bösendorfer.

I hope I have given back half the joy music has given me.

My strength is my enthusiasm.

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

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

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

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

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

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

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

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

The press regularly proclaims my ambitions and my financial demands.

In the last century, everybody was singing lower.

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

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

I am never wrong when it comes to my possibilities.

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

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.

When you are confronted with an opera, you have to keep an eye on everything: the musicians, the chorus, the ballet, the singers, the staging.

The atmosphere of the theater is my oxygen.

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

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

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

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

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

I'm not superstitious because it brings bad luck.

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

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.

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

The public is a part of my real life.

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

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

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

Singing becomes a form of therapy.

What is sad is not to be able to do today what you have done in your youth. But what is good is to remember that - when you were able - you did it to the best of your ability.