Quotes of All Topics . Occasions . Authors
I love to sing. I'm a soprano.
I really wanted to be an opera soprano.
I am actually a soprano. No one knows this.
You can't sing baritone when you're a soprano.
I was champion soprano of Sussex when I was 16!
The soprano turned out to sound to me like the right hand on the piano.
I didn't want to be Nelsons's wife. I wanted to be soprano Kristine Opolais.
Nobody inspired me more than Julie Andrews, who is a classically trained soprano herself.
I remember at the age of, and I'll say this, 10 and a half, 11, I had a natural boy soprano.
A soprano's voice is a little like a mother's cry, which is why it attracts all human beings.
I heard Sidney Bechet play a Duke Ellington piece and fell in love with the soprano saxophone.
I was a boy soprano. I had a natural kind of voice and then trained it after my voice changed.
Nothing about Tony Soprano's life was glamorous. He was never somebody I wanted to be. His life was terrible.
My grandfather was actually a doo-wop singer in Panama. They were called The Dominos. He was the high soprano voice.
I had been in a professional boys' choir, and as a boy soprano, you're aware that your voice has an expiration date.
You have antiheroes in dramas, like Tony Soprano. But it's a little bit harder in comedy. You don't see it quite as much.
When I was in grade school and high school, I did a lot of chorale singing. And the chorus would be tenor, bass, and alto and soprano.
Being lectured by the president on fiscal responsibility is a little bit like Tony Soprano talking to me about law and order in this country.
I've been working on the soprano saxophone for 40 years, and the possibilities are astounding. It's up to you, the only limit is the imagination.
Nobody was playing the soprano saxophone and certainly nobody was trying to do anything with it. So I was all alone. I didn't know that at first.
My mother had a great voice. Not like mine, not like my sister's, not like my son's - a high soprano voice, but like a bird. I mean, really beautiful.
As a soprano who sings 'Lucia di Lammermoor,' I have the high notes and the trills. No problems there. But going into the low registers is lots of work.
Shortly after this I was made a member of the boys' choir, it being found that I possessed a clear, strong soprano voice. I enjoyed the singing very much.
I think I have got a peculiar voice really, it neither one thing nor the other. It's not a contralto and it's not a mezzo soprano; it's a nothing voice really.
You got to play the flute as a flute, like that. You can't play like a tenor concept on soprano; it sounds wrong. But some guys do it, and they think it's O.K., but not so!
The soprano has all those other instruments in it. It's got the soprano song voice, flute, violin, clarinet, and tenor elements and can even approach the baritone in intensity.
I can hit baritone notes, and I can sing in the soprano range if I wanted to. I did this thing a long time ago where I did a duet with myself. I sound like two different people.
The saxophone is an imperfect instrument, especially the tenor and soprano, as far as intonation goes. The challenge is to sing on an imperfect instrument that is outside of your body.
I had four or five years in school training as a soprano. I fell into pop singing because of economics. I got out of high school and had to go work, and they weren't hiring opera singers.
I did classical singing at school. I did exams in that. I'd sing soprano, and we'd sing in German; we'd do Schubert for my pieces, in Latin, French... I really enjoyed that. I kind of miss it.
My family was very encouraging, and both of my grandparents were both beautiful singers. My grandmother was a coloratura soprano, and my grandfather was an Irish tenor in a barbershop quartet.
The nature of television is that it's a beast with a lot of opinions. I don't consider myself typecast any more than Neil Patrick Harris was as Doogie Howser or James Gandolifini is as Tony Soprano.
I'm a lyric soprano. I can try to step outside that and do different kind of singing, but it's not something I can sustain over the long haul, and what is good for your voice is good for your career.
The year was 1882. The palace was the Luxembourg Palace: the ball, the Senat Bal, held at the beginning of autumn. It was still warm, and so the garden was used as well. I was the soprano. I was Lilliet Berne.
My grandad was an opera singer, my uncle a jazz musician; I was a boy soprano in the church choir. But the first performance with Deep Purple was something I'll never forget. All elements were working brilliantly.
Directors didn't know what to do with me in college. I didn't really sound like a belter. I didn't look like a soprano. But in New York, I was in the right place at the right time, where my unusualness fit the bill.
Lilliet Berne, La Generale, newly returned to Paris after a year spent away, the Falcon soprano whose voice was so delicate it was rumored she endangered it even by speaking, her silences as famous as her performances.
In school, I really felt like I didn't fit a type. I think everybody had a hard time putting me in a category. They all sort of realized, 'Hmm, you don't really look like a soprano. You're not really a character belter.'
I loved being a soprano. It was one of my very favorite things in life, and thus far, and losing that voice was a profound emotional moment for me in my life. I never became that interested in my adult male singing voice.
The cello is a hero because of its register - its tenor voice. It is a masculine instrument, whereas the violin is feminine because of its soprano pitch. When the cello enters in the Dvorak Concerto, it is like a great orator.
I used to lie in bed and imagine I was performing at the Albert Hall, not that I'd ever been there. I took lessons with a German teacher when I was quite young. But it turned out I had a very high soprano voice, which I didn't like at all.
I'd love to tackle a classic Shakespeare play or take on Nora Helmer in 'A Doll's House.' Musical theater, it's the classics like Rodgers and Hammerstein and Cole Porter's 'Kiss Me Kate.' I'm much more a Julie Andrews-type soprano than an Idina Menzel.
I certainly know all about the Jersey jokes that amuse the rest of the country. You've probably heard them. Our state bird is the mosquito. Our state tree is dead. It doesn't help that we are represented on television by Tony Soprano and 'Jersey Shore.'
I have the vanity to think that every play I have written is different from the previous ones. Yet, even though they are written in a different way, they all deal with the same themes, the same preoccupations. 'Exit the King' is also 'The Bald Soprano.'
I wasn't the best in my class at the Royal Academy. There was a really good soprano and baritone who were technically better and are doing really well in opera now. But I was definitely the best mezzo-soprano in my class, because I was the only one of those!
My high-school a cappella teacher would embarrass me in front of the choir. 'Mavis, you're in the basement. Mavis, you're singing with the boys.' I said, 'Mr. Finch, my voice isn't soprano. I can't sing up there with the girls.' So I just got out of the choir.
What I really want to do is create great roles for women. And I'm not talking Nicholas Sparks romance. I think women's roles have gotten ghettoized in these sort of places... I'm thinking women in action, comic books, or like the Tony Soprano of women. We need some complex roles.