Javier Camarena
“It is a very complex opera in terms of melody but also dramatically. I’m very proud of this project, I was able to sing all these crazy music as Bellini wrote it, and it’s really great that it is there for the history of the opera.”
Nicky Spence
“It’s a lot to do with human interest, and the fact that these composers have stories to tell from their own point of view, which I think is very much condensed within their music. There’s something about the misery of my Celtic history which tends to resonate with composers like Janáček and other countries who have had a similar kind of exile feeling.”
Ian Bostridge
“I think it’s important sometimes that when we listen to this music being sung that we forget it just connects directly into our souls, rather than being an exercise in aesthetics or something.”
Roberto Alagna
“For me, everything was impossible, everything was too difficult. And I remember having the critics against me. But in the end, I was very lucky, because I had the voice for nothing, and I sang quite everything!”
Piotr Beczała
“When we don’t develop as singers, we go back. And this is kind of a philosophy that we have to permanently develop the voice. It’s like walking through the mountains, you know it’s not only one peak. It’s really like a big long adventure.”
Michael Fabiano
“If I just carried out a safe life, there’s a case to be made for some great singers that only did the safe path and had a wonderful career and ended on top. My option is something else. “
Andreas Scholl
“The countertenor voice transcends the male and the female voice. It stands for the next higher level which is the human level, and I think deep inside ourselves, we all have the desire to not exclude part of our identity.”
Michael Chance
“It’s very interesting to know how it started. We hear it all the time in pop music. From The Beach Boys, to The Bee Gees. They do it without thinking. In classical music, because we like categories and we like standardization, so it’s always been slightly more formalized. But it’s the same voice. “
Iestyn Davies
“I call it a setlist, because I think we’re quite used nowadays to streaming platforms to put together music, and listen to it at your cooking or whatever, and not have the interruption of applause, and you can kind of curate your own little concerts at home. “
Jakub Józef Orliński
“In break-dancing, nobody can tell you that something is right or wrong. You listen to the music and your body is the reaction for that music. The movement gives me a lot of information that I can use or not use in my performance.It’s more for imagination and for my own thing that I created in myself in my preparation process.”
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