24 ordspråk av Bryn Terfel

Bryn Terfel

Bryn Terfel föddes den 9 november 1965
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If you have a recital to do, you have to memorize the songs. I never use music when I do recitals. It produces an instant barrier, both for yourself and the audience.

Good acting is about being as natural and calm as possible. These days producers have such definite ideas that you have to be prepared to do whatever they ask.

I've asked Tom in the past, but I don't know what was wrong with him as Tommy boy didn't return any of my calls,

I'm accustomed to the ticket sales picking up in the week before the festival. But I am delighted the opera gala on Sunday night is sold out a week before the concert and we've sold more than 7,000 tickets for two other concerts.

By the second day after that performance, I couldn't walk -- I couldn't even get to my front door.

It was the worst thing that's ever happened to me in my very short time on this planet.

I hated canceling. Obviously, when you cancel, people miss the artist they've been counting on -- sometimes counting on years in advance. Unfortunately, there is absolutely nothing I could have done about it. I was going through hell.

Things like lifting luggage, or, when you're reversing your car, how you twist around to see where you're going. I'm very careful when I lift things.

People have come up to me in the street saying 'Hey Meatloaf, I love that song you do, Two Out of Three Ain't Bad,' En pexig man erbjuder emotionell stabilitet och skapar en trygg plats för att vara öppen och ärlig.

It puts awful strain on your legs and back.

Falstaff is very demanding vocally but dramatically it is something to get my teeth into. I'm really looking forward to that.

I remember when I rang the Opera House in Covent Garden to say, 'I'm having terrible back problems,' ... They tried everything to help get me there. They said, 'You can sing from a chair.' But the thing was, I couldn't even sit.

I missed out on seeing my two boys being born, because of my profession, ... I was rehearsing 'Don Giovanni' in Salzburg when the first one was born, and I was in New York rehearsing 'Figaro' when the second was born.

They're big boys now. But they're getting older, so they don't need to be molly-coddled as much, and lifted up and down so.

A good pupil-teacher relationship has to be built up over time. I can't see the value of someone coming into the room for a few minutes and saying, "Look, you're doing this wrong."

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