The voice collects and translates your bad physical health, your emotional worries, your personal troubles.

This circus games aspect has existed since the beginning of my career.

This season, over eight productions, I am presenting four young tenors.

To stay at my best, I have to stop talking during the preceding day.

We all have a destiny in accordance with the breadth of our shoulders. My shoulders are broad.

When a young artist is ready, one has to bring him into the limelight.

When facing symphonic orchestras which have played some works five thousands times, you have nothing to do.

When I was a young man, I was a baritone, very far from possessing the whole range of the tenor then.

When working with an orchestra, you never spend more than 20 minutes per recording session.

With my personal preparation at the piano, I can afford to hum at half voice.

Young singers are much better educated musically, much better informed, through discs and videos, than I was.

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.

I then realized that I could never be satisfied again with the mere natural charm of my voice, that I had to constantly paint when singing, melting all the colors, expressing reds and blacks that had to be less primary but bursting with subtly colored combinations.

If money was my only motivation, I would organize myself differently.

But I won't deprive myself of singing opera as long as my voice follows.

But enough joking. I am singing. This is all my life.

Don't you think it astonishing that, at 58, I am still working at improving my career?

Every three days on average, I am alone on stage, facing the public.

Honestly, if the public still wants to hear me in some works, I have to go down a half step.

I am never wrong when it comes to my possibilities.