I would still love to do more Handel. I think Handel was a fantastic composer. I did lots of Vivaldi, but it's also important to do the music of Handel, one of the greatest composers of the 18th century.

I think, first of all, you need to love what you're doing, and then this helps in the comedian for its part in everything-but the moment you enjoy what you're doing, you try to express yourself, to find your way, and every time is different, of course.

So I like to make music, and I like to share music. This is also a gift.

The first time I sang with David Daniels... I had never performed with a countertenor before. That first time was magic, it was so beautiful. And he's such a great artist.

I still love to walk in the mountains or be on the sea. I like to be in nature. Sometimes I bicycle. It's important to feel good with your body. The body is extremely important. If you feel good, you have more energy in your singing.

So you see, movies are really another dimension.

Arizona is gorgeous. The sunshine in Arizona is gorgeous red.

We consider Monteverdi the first composer of opera. There was someone before, but everything started with Monteverdi.

Well, what I tried to do is to just listen to my voice, because my voice is my boss. She decides.

It's nice to have a great female composer in the program and add her color.

The songs of Bizet are by a French peer of Rossini. When Rossini stopped composing, he was living in Paris. He also wrote some beautiful songs in French.

I am a person of the 18th century.

The voice is an instrument that you really must take time to develop. It's like a good red wine Give it time.

When you are accompanied by the instrument - on an instrument like the lute-the lute and voice - you have this sound, and you feel how the music can be so touching and yet so simple.

It's a dream come true, and with this music, with this Rossini, it's unbelievable how to express the joy and express the joy of the situation and the joy to play this music, to sing this music, it's really fantastic.

The voice will guide you-will tell you what to do. In order to do that, you must be quite sensitive with the instrument and accept this daily conversation with your voice.

I did a concert... in September with the Berlin Philharmonic... They're great musicians, and there's always something to learn from them.

I still the love classic period, but also the baroque period, and even 17th-Century music such as the music of Monteverdi. He's one of the greatest opera composers. He was the one who really started the opera.

Music is a way to dream together and go to another dimension.

Well, I don't think a specific role can destroy your voice. What can destroy your voice is when you... make an error. Everybody can make an error. But then you need to realize what is your way.

Actually, I feel music becoming more and more important. It's a big source of inspiration. With what's going on in the world, we feel almost desperate. Music also brings you peace.

When I had my first voice lesson I was 15 years old. And I had a really good teacher. This is what made all the difference. A good teacher will teach you the technique, but also how to listen to your voice.

People realize that Salieri is not the man we saw in the Amadeus movie. That man had no talent. It was a great movie, but the Salieri character was a big fiction.

The media can be a really strong vehicle.

The restaurants close here in Salzburg. They don't really have a nightlife in the winter time.

I went to the Conservatory of Music in school in Rome.

The goal is always to make a nice tableau painting with the voice. The more color I can find, the more shadow I can find - the goal is always to make more nuance and colors.

It's like when you want to make a house... the technique is very important.

I would still love to do more Handel. I think Handel was a fantastic composer. I did lots of Vivaldi, but it's also important to do the music of Handel, one of the greatest composers of the 18th century.

German is more familiar now since I live part of the year in Rome and part in the German part of Switzerland. But it's not difficult to sing in German; it's difficult to feel in German. This takes time. It's a culture.

It's such a joy to work with different ensembles and create a collaboration. Rehearsing and building a performance is very interesting for me.

The Western musical canon came about not merely by accumulation, but by opposition and subversion, both to the ruling powers on whom composers depended for their livelihoods and to other musics.

There are no black film composers doing the likes of Star Wars, doing the likes of E.T., doing the likes of Jurassic Park. There are none, nor will there ever be one. That ain't about to happen!

When the Domaine Musical started up, I wasn't part of it. They were the major players in contemporary music at that time, braodcasting old and new composers' work. And I wasn't one of them.

Composers, like authors, have a lot in common. Our main goal is to connect with the listener emotionally.

A characteristic of older folksongs, in most cases, is that we don't know their composers or authors. Older folksongs were written often with no commercial purpose in mind. They were passed down by word of mouth, from generation to generation.

I occasionally play works by contemporary composers and for two reasons. First to discourage the composer from writing any more and secondly to remind myself how much I appreciate Beethoven.

America can well expect to develop a goodly amount of composers for she has a goodly number of people.

Composers should write tunes that chauffeurs and errand boys can whistle.

I was always drawn to Broadway musicals, and obviously composers like Gershwin, Rodgers, Berlin and Porter were writing music that I found wildly impressive.

Living composers writing for big band are very few and far between. There are not a lot of them, and I have a talent for doing it. I am zeroing in on what I do best.

Although technical discussions are interesting to composers, I suspect that the truly magical and spiritual powers of music arise from deeper levels of our psyche.

The structural thinking I use in the concert hall is unnecessary to most film projects, and most film composers make better use of the enormous range of pop and other materials and techniques required of them than I probably would, faced with the same challenge.

Music is at once the product of feeling and knowledge, for it requires from its disciples, composers and performers alike, not only talent and enthusiasm, but also that knowledge and perception which are the result of protracted study and reflection.

Composers today get a TV script on Friday and have to record on Tuesday. It's just dreadful to impose on gifted talent and expect decent music under these conditions.

There's a higher place that I have no illusions about reaching. There's a sophistication and aesthetic about composers who only write only for the music's sake.

I am not one of the great composers. All the great have produced enormously. There is everything in their work - the best and the worst, but there is always quantity. But I have written relatively little.

The Russian composers, especially, tricked the symphony orchestra into the kind of dynamic, rhythmic thing.

We are increasingly likely to find ourselves in places with background music. No composers have thought to write for these modern spaces, which represent 30% of our musical experience.