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I have always studied my parts with the orchestral score and not with the piano reduction.
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I attended less than two years of Conservatory in Mexico City.
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But enough joking. I am singing. This is all my life.
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Young singers are much better educated musically, much better informed, through discs and videos, than I was.
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Singing becomes a form of therapy.
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With my personal preparation at the piano, I can afford to hum at half voice.
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Let us be clear: I take ten times more money for a concert than for an opera performance.
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Every three days on average, I am alone on stage, facing the public.
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This season, over eight productions, I am presenting four young tenors.
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When a young artist is ready, one has to bring him into the limelight.
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It is strange, but nobody is shocked when pop singers make a fortune in the space of two years.
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When facing symphonic orchestras which have played some works five thousands times, you have nothing to do.
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I feel at home in an orchestral score.
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Between parts I was too old for and roles that were too overwhelming, out of reach then for my voice. I carved out a niche with the Wagnerian repertoire since I am attracted by its theatrical intensity.