When facing symphonic orchestras which have played some works five thousands times, you have nothing to do.
It is strange, but nobody is shocked when pop singers make a fortune in the space of two years.
I was married at 16, a father at 17 and divorced at 18.
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.
I attended less than two years of Conservatory in Mexico City.
When working with an orchestra, you never spend more than 20 minutes per recording session.
In the last century, everybody was singing lower.
Should it happen tomorrow, I would fall to my knees to give thanks to God for such a career.
If money was my only motivation, I would organize myself differently.
With my personal preparation at the piano, I can afford to hum at half voice.
Don't you think it astonishing that, at 58, I am still working at improving my career?
The public made me and then encouraged me for many years, and my future even now depends upon it.
This season, over eight productions, I am presenting four young tenors.
I have always studied my parts with the orchestral score and not with the piano reduction.
Honestly, if the public still wants to hear me in some works, I have to go down a half step.
I will prove that a great conducting career is expecting me.
I feel at home in an orchestral score.
The public is a part of my real life.
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