Opera singers

"Some say I have a beautiful voice, some say I have not. It is a matter of opinion. All I can say, those who don't like it shouldn't come to hear me."

"I admire Tebaldi's tone; it's beautiful — also some beautiful phrasing. Sometimes, I actually wish I had her voice."

"What Tullio Serafin] said that impressed me was: "When one wants to find a gesture, when you want to find how to act on stage, all you have to do is listen to the music. The composer has already seen to that." If you take the trouble to really listen with your soul and with your ears — and I say soul and ears because the mind must work, but not too much also — you will find every gesture there. And it is all true, you know."

"What a lovely voice, but who cares?"

"Don't talk to me about rules, dear. Wherever I stay I make the goddamn rules."

"Bel canto does not mean beautiful singing alone. It is, rather, the technique demanded by the composers of this style — Donizetti, Rossini, and Bellini. It is the same attitudes and demands of Mozart and Beethoven, for example, the same approach and the same technical difficulties faced by instrumentalists. You see, a musician is a musician. A singer is no different from an instrumentalist except that we have words. You don't excuse things in a singer you would not dream of excusing in a violinist or pianist. There is no excuse for not having a trill, for not doing the acciaccatura, for not having good scales. Look at your scores! There are technical things written there to be performed, and they must be performed whether you like it or not. How will you get out of a trill? How will you get out of scales when they are written there, staring you in the face? It is not enough to have a beautiful voice. What does that mean? When you interpret a role, you have to have a thousand colors to portray happiness, joy, sorrow, fear. How can you do this with only a beautiful voice? Even if you sing harshly sometimes, as I have frequently done, it is a necessity of expression. You have to do it, even if people will not understand. But in the long run they will, because you must persuade them of what you're doing."

"It takes a little more time to get into the role, but not very much more. In making a record you don't have the sense of projection over a distance as in an opera house. We have this microphone and this magnifies all details of a performance, all exaggerations. In the theater, you can get away with a very large, very grand phrase. For the microphone, you have to tone it down. It's the same as making a film, your gestures will be seen in close-up, so they cannot be exaggerated as they would be in a theater."

"Serafin was] an extraordinary coach, sharp as a vecchio lupo [old wolfe]. He opened a world to me, showed me there was a reason for everything, that even fiorature and trills ... have a reason in the composer's mind, that they are the expression of the stato d'animo [state of mind] of the character — that is, the way he feels at the moment, the passing emotions that take hold of him. He would coach us for every little detail, every movement, every word, every breath. One of the things he told me — and this is the basis of bel canto — is never to attack a note from underneath or from above, but always to prepare it in the face. He taught me that pauses are often more important than the music. He explained that there was a rhythm — these are the things you get only from that man! — a measure for the human ear, and that if a note was too long, it was no good after a while. A fermata always must be measured, and if there are two fermate close to one another in the score, you ignore one of them. He taught me the proportions of recitative — how it is elastic, the proportions altering so slightly that only you can understand it. ... But in performance he left you on your own. "When I am in the pit, I am there to serve you, because I have to save my performance." he would say. We would look down and feel we had a friend there. He was helping you all the way. He would mouth all the words. If you were not well, he would speed up the tempo, and if you were in top form, he would slow it down to let you breathe, to give you room. He was breathing with you, living the music with you, loving it with you. It was elastic, growing, living."

"I would not kill my enemies, but I will make them get down on their knees. I will, I can, I must."

"I happen to think that Callas was the greatest singer of the 20th century. I feel that so many people have learned the wrong things from her, rather than the right things. She was a fabulous musician. When you listened to her, you could almost take dictation. All the dots were there. Anything that was wrong was because of the deterioration of the instrument over time. But usually musical things were not wrong. She has pitch problems and wobbles that came in later."

"Callas was such an example of professionalism. One thinks of her as a flighty diva, which is the wrong thing to learn from her, and she wasn’t at all."

"From Callas, I learned to respect the music. It’s part of the attention to detail. Today, everything seems to me a bit homogenized. Puccini sounds like Handel which sounds like Bellini. Callas had this sense of style, whether it was learned or just innate."

"Callas was superhuman. She was on a whole other plane. She really was a Diva — the goddess — and the rest of us are basically her handmaidens."

"That is such a difficult question. There are times when certain people are blessed — and cursed — with an extraordinary gift, in which the gift is almost greater than the human being. Callas was one of these people. It was as if her own wishes, her life, her own happiness were all subservient to this incredible, incredible gift that she was given, this gift that reached out and taught us things about music that we knew very well, but showed us new things, things we never thought about, new possibilities. I think that is why singers admire her so. I think that’s why conductors admire her so. I know it’s why I admire her so. And she paid a tremendously difficult and expensive price for this career."

"I don’t think she always understood what she did or why she did it. She knew she had a tremendous effect on audiences and on people. But it was not something she could always live with gracefully or happily."

"I once said to her “It must be a very enviable thing to be Maria Callas.” And she said, “No, it’s a very terrible thing to be Maria Callas, because it’s a question of trying to understand something you can never really understand.” She couldn’t really explain what she did. It was all done by instinct. It was something embedded deep within her."

"I adored this lady, and I respected her work ethic. She always wanted to improve her understanding of a piece. "Casta Diva", [for instance] — what interested me most was how she gave the runs and the cadenzas words. That always floored me. I always felt I heard her saying something — it was never just singing notes. That alone is an art. It’s an art that you can try to achieve, but you can’t copy, because that’s just imitating without delving into [how she felt] about that particular fioritura. ... how many other artists since Callas have you heard and thought, "She sang gorgeously, but I never cried?""

"Maria Callas remains an icon with an instantly recognizable voice. But she was also the first opera singer to be equipped with the ingredients of international celebrity: charisma, glamour, wealth, she had it all, together with the touches of scandal and tragedy that made her story so compelling. Since her time, every female opera singer has been measured against this powerful role model. ... Callas modernized our metier. Her life was a tireless creative search. She was one of the first to recognize the importance of being an actress as well as a singer, and was uncompromising in her belief that, in order to achieve a complete dramatic performance, all aspects of the operatic genre require equal attention. She was a pioneer in restoring forgotten repertoire and in exploring new ways of musical interpretation. To this day, I find that many of her exemplary recordings are astounding."

"Callas studied the text, the meaning of the words, and as a result, she became a diva. She became the Great Callas. Because she studied the character, she entered the mind of the character, and she brought the character to life onstage. Today, young singers don’t have this mindset. They don’t have the kind of technique that Callas had. ...Price, Milanov and Tebaldi had stupendous voices and great careers. [But] Callas, as a performer, as someone who expressed the real meaning of the words, was the best. The best. There is no doubt about this — not only for her sound, but because she studied so much. Callas is the diva. She is important to young singers, because she was a serious singer onstage, and she left a great legacy. I don’t know, though, if they can listen and learn from what she left on her recordings."

"Callas? She was pure electricity."

"She opened a new door for us, for all the singers in the world, a door that had been closed. Behind it was sleeping not only great music but great idea of interpretation. She has given us the chance, those who follow her, to do things that were hardly possible before her. That I am compared with Callas is something I never dared to dream. It is not right. I am much smaller than Callas."

"I used to listen again and again to recordings by Maria Callas. She was so musical and so theatrical at the same time. That is rare! I admire the way she cares for the words, so that everything comes from the text. She takes everything from the text and the music to elaborate a character and make her really interesting and impressive. She brings her own nature to the part — what she is, her passion, her fragility, doubts, feelings, violence — everything she is. And she never betrays the text or the music. We're very different, thank goodness, and I am happy with my own voice. But I feel very close to her in terms of discipline — trying to be as disciplined as she. She is an example to follow! Maybe in the past, people were more interested in voice and beautiful sounds. Maria Callas changed that. She arrived, brought a new way of doing opera, opened the way for us. We don't have any excuse now for not doing it!"

"Callas, way above the rest. Tebaldi had a fantastic voice, like an angel's. But even when Callas's voice wasn't perfect, she had so much interpretation. Opera is storytelling. Feelings must be conveyed. Acting must be moving. And Callas had it all."

"Maria had in her blood, in her veins, in her subconscious all the tradition of the Greek Tragedy. She was born that way. In fact, she had her best time during 10 years. That was very short. But the "Myth of La Callas" will continue for ever, because she did so much! She was a magnetic force on stage, the others didn't exist anymore. It's a gift of Nature, a gift of God. It' a talent, a great talent."

"Oh, many. A few, even superior. For sheer strength of character, I wouldn't have dared to cross swords with Callas. I would rather have gone six rounds with Jack Dempsey!"

"The Chicago Lucia [1954], which I witnessed, absolutely blew everybody's mind, because she stopped the show in the middle of the mad scene. She bowed, [while] the audience went wild, and kept that pose for fourteen minutes. Callas was our lesson, in those days, for how one performed. She had such complete ... we say in German "souveränität" — being above everything. She had this aura of magic. People were always mystified by what she did....Tebaldi had a much more beautiful voice and didn’t have that hollow, breathy sound, which at times was just plain ugly. [But] Callas was unusual because despite the sound of her voice, the force of her personality just magnetized people. It was so present, it came across the footlights at you, that ferocity of hers. It was just all-encompassing. Callas brought the personality, the drama, the magic, the surreal quality to the bel canto roles that Sutherland never did."

"It seems almost inexplicable that the human race, with its ravenous appetite for entertainment, should have failed over so many decades to produce another Callas and Elvis. Neither Pavarotti nor Madonna come close, nor ever will. The desperate efforts of a universal music industry have yielded nothing more enduring than Cecilia Bartoli, the mini-voiced mezzo who tops the opera charts, and the high-kicking, faintly archaic Kylie Minogue, who belongs more to the smiley era of the Andrews Sisters than to the grim virtual reality of Bill Gates. In fact, when we commemorate the Presley and Callas anniversaries, one month apart, we confirm a catastrophic failure of cultural renewal."

"In all her recordings, one witnesses this incredible technique at work, whether it is Puritani, Sonnambula, Lucia, Norma or Abduction, [or] turning around to sing Gioconda and Kundry. This ability to devour all of vocal music history, and take it into herself and spew out such excellent examples of all these different styles — you just think, “How is a voice able to encompass all of this?” Well, it’s not the voice, it’s the woman behind the voice."

"No coloratura or fioritura was ever done for its own sake — it was always at the service of some expressive challenge....Her runs always gave the impression of being done so effortlessly. I liken it to the greatest ballerinas — they never made you aware of how painful it is to be en pointe. Callas transcended and transformed pain and difficulty into sheer weightlessness and ease and joy. It's absolute perfection in itself, and then on top of that she overlays expression — that's the thing I adored about this singer. She must have spent hours, days, weeks, years on this art, you know? The one I'm floored by is the Entführung that she did. ["Martern aller Arten"] is just beyond belief. I don’t think anyone has sung it better...."

"There was some wonderful demonic thing that worked inside of her to fuse the elements of technique and expression and transcend the [roles she assayed.] ... She's an inspiration to everyone that follows her, but she’s also a kind of cautionary tale for artists, so they understand that you risk a great deal when you’re that hungry."

"Listening to Callas is like reading Shakespeare: you’re always going to be knocked senseless by some incredible insight into humanity. She is a huge bonfire! The thread, the "inner serpent" that she would get in certain music was so complete — for example, in the Lucia recording, the phrase "Alfin, son tua." Lucia, at her absolute happiest moment, would have said to Edgardo, "I am finally yours." For me, the woman Lucia came to life in that moment, and I understood why she was out of her mind, you know? You’ve got it all in that one phrase."

"[Callas was] An outstanding historical figure, ranking with Malibran, Viardot, Toscanini, and Mahler. She is somewhat like Viardot, Chorley's "tones of an engaging tenderness" mingled with those "of a less winning quality." It was a flawed voice. But then Callas sought to capture in her singing not just beauty but a whole humanity, and within her system, the flaws feed the feeling, the sour plangency and the strident defiance becoming aspects of the canto. They were literally defects of her voice; she bent them into advantages of her singing. [Her voice] is what she had. What she made was a musical information of what was happening to her characters, a searching virtuosity. Suffering, delight, humility, hubris, despair, rhapsody — all this was musically appointed, through her use of the voice flying the text upon the notes...."

"Yes, the woman could act. At the very moment she entered, you saw in full Aida, Anna Bolena, Gioconda, felt their eyes on you even before they uttered a sound. ... The gestures — so authentically antique, yet strangely devised entirely on her own — were completely equalized into her stylistics, with one set for the Greeks and Romans, another for post-Renaissance royalty, a third for more contemporary characters. Yet, all this was subsidiary to the heavy Kunst of developing the psychology of the roles under the supervision of the music, of singing the acting...."

"She sang as if she had the most beautiful voice in the world — and sang so beautifully that she might as well have had such a voice. Thus she moved opera back a century to the age of Viardot, the acting singer."

"When I was around thirteen, fourteen years old, in communist Poland, we had no recordings at all. I don’t know how my mother found this old-fashioned recording, with Maria Callas, Tito Gobbi — you know, it was Tosca. I had only this one recording in my house, and I was listening to [it] ten times a day. I knew by heart everything — I could sing Cavaradossi, Tosca, Scarpia — each role. I was very young, and I didn’t know exactly what I wanted to do in my life. And when I for the first time heard Maria Callas, suddenly I got proof — “Yes, I want to be a singer, I want to sing like she sings!”"

"It’s enough to hear her, I’m positive! Because she could say everything only with her voice! I can imagine everything, I can see everything in front of my eye."

"People are funny, because they can’t be happy. If they have somebody like Maria Callas in front of them, they always try to find something wrong, something bad, a few mistakes, you know? And maybe she had three voices, maybe she had three ranges, I don’t know — I am professional singer. Nothing disturbed me, nothing! I bought everything that she offered me. Why? Because all of her voices, her registers, she used how they should be used — just to tell us something! She had a message for us, a fantastic message. She had such a big power, and then she just disappeared."

"Without hesitation, Maria Callas. . . Maria Callas gave me the opera bug. To pursue that area of placing my instrument, which I had already found out from me was not ordinary. I took a plane to Chicago, during the 50’s when she was there for the first time doing Madama Butterfly. And the excitement! Histrionically, she remade Opera, in the sense that she merged the sound with the action. Now, I’m not that kind of electric personality. but she taught me to fit my own movements, my own acceptance of claiming center-stage from her own doing that. It was one of the most exciting experiences I have ever known."

"I think the secret of Maria Callas was her willpower. Maria Callas was born with all sorts of disadvantages. Her voice was not of the most beautiful quality, and still, she made this instrument the most expressive, the most telling, the most true to the music that she interpreted. Maria was not born a beautiful woman. Maria was fat, obese, ungraceful — when you realize the type of body she was born with, like that of a pachyderm — but she turned herself into possibly the most beautiful lady on the stage."

"Maria had a way of even transforming her body for the exigencies of a role, which is a great triumph. In La traviata, everything would slope down; everything indicated sickness, fatigue, softness. Her arms would move as if they had no bones, like the great ballerinas. In Medea, everything was angular. She’d never make a soft gesture; even the walk she used was like a tiger’s walk."

"There's no one in her league. That's it. Period."

"Emmylou and I are both Maria Callas fans. We listen to that all the time. She's the greatest chick singer ever. I learn more about bluegrass singing, more about singing Mexican songs, more about singing rock-and-­roll from listening to Maria Callas records than I ever would from listening to pop music for a month of Sundays."

"If the public could understand, as we do, how deeply and utterly musical Callas is, they would be stunned."

"Maria, you are a monster; you are not an artist nor a woman nor a human being, but a monster."

"That woman is a miracle!"

"The greatest technician I ever met ! She could do everything."

"Listen to me, everyone speak about Callas. But I know Callas. I know Callas before she was Callas. She was fat and she had this vociaccia -- you know what a vociaccia is? You go kill a cat and record its scream. She had this bad skin. And she had this rich husband. We laugh at her, you know that? And then, I sat in on a rehearsal with Maestro Serafin. You know, it was Parsifal and I was supposed to see if I do one of the flowers. I didn't. And she sing that music. In Italian of course. And he tell her this and he tell her that and little by little this voice had all the nature in it -- the forest and the magic castle and hatred that is love. And little by little she not fat with bad skin and rich-husband-asleep-in-the-corner; she witch who burn you by standing there. Maestro Serafin he say to me afterwards, you know now something about Parsifal. I say, 'No, Maestro, I know much more. I know how to study. And I know that we are more than voices. We are spirit, we are god when we sing, if we mean it.' Oh yes, they will go on about Tebaldi this and Freni that. Beautiful, beautiful voices, amazing. They work hard. They sincere. They suffer. They more talented than Maria, sure. But she was the genius. Genius come from genio -- spirit. And that make her more than all of us. So I learn from that. Don't let them take from you because you are something they don't expect. Work and fight and work and give, and maybe once in a while you are good."

"In October of 1948, just after I moved to Florence to head the Teatro Comunale, Serafin called me from Rome. "Come at once," he begged. "You must hear this girl. She is discouraged and has bought a ticket to return to America. Help me convince her to stay." So, at his home, I met Maria Callas. She was tall and heavy, but had an interesting face, real presence, expression, intelligence. With Serafin at the piano, she did her usual repertory for me — Gioconda, Turandot, Aida, Tristan. Parts of the voice were beautiful, other empty, and she used strange portamenti. During a pause, she said she had studied with Elvira de Hidalgo, which struck me as curious, for de Hidalgo had been a coloratura. "I know coloratura pieces too," Callas explained, "but I'm a dramatic soprano." "Well," I asked, "can we hear something of a different nature?" So she sang the aria from I Puritani, with the cabaletta. I was overwhelmed, and tears streamed down Serafin's cheeks. This was the kind of singer one read about in books from the nineteenth century — a real dramatic coloratura."

"I've loved opera since I was a child. I study her; I mean of course I can't sing like that, but she has taught me a lot about discovering how to deliver the inner narrative of a song. Because I listen to her songs--I don't speak Italian or I don't speak whatever language she's singing--but I understand what she's conveying through her emotional interpretation."

"Callas’ magnificence lay in both her natural gift and her incredible commitment to mastering the correct style with the great conductors that she worked with. All the things that you think are happening spontaneously are planned and organized. They’re part of the style. Her stylistic mastery, as well as her personality and voice, still make people talk today. It’s that magic thing that happens."

"Whatever genius is, I think there’s a strong element of genius in [Callas]."

"I didn’t dare study her phrasing, but of all the singers I listen to, it’s Callas I love most. I always have. And I was lucky enough to be at the Met[ropolitan Opera] when she did the master classes at Juilliard [School]. I saw them, and saw how she worked with people and what her knowledge was. There was no mystery to it. It was very tangible. The grounding was sort of like a ballerina’s footing in barre exercises. To get to the point where you get your feet to leap into the air, you have to begin very close to the floor. That’s what I think a lot of her musicianship represents to me: It’s her extraordinary devotion."

"[Hearing Callas in Norma in 1952] was a shock, a wonderful shock. You just got shivers up and down the spine. It was a bigger sound in those earlier performances, before she lost weight. I think she tried very hard to recreate the sort of “fatness” of the sound which she had when she was as fat as she was. But when she lost the weight, she couldn’t seem to sustain the great sound that she had made, and the body seemed to be too frail to support that sound that she was making. Oh, but it was oh so exciting. It was thrilling. I don’t think that anyone who heard Callas after 1955 really heard the Callas voice."

"[Backstage] she was wonderful; she was marvelous. She was easy-going and a worker. Oh my goodness! She rehearsed and rehearsed; always full-voice, never pushing the sound, but she would work till she got what was wanted. And of course had very poor eyesight. She used to pace out how many steps she would go, and there were steps and different levels on stage, as they were, in Norma. And she knew how many paces she could take before she had to take a step, because she was blind as a bat. She had terrible eyesight and, of course, couldn’t wear contact lenses at the stage. She did later."

"[Working with Callas was] like nothing else. Compared to nothing. I would say singers are reproductive artists, but she was a creative artist. She was in the role so much, it was fabulous, fabulous. She was very modest, very easy. But I think she saw red when she saw a journalist. But I could discuss a breath or anything with her. She didn't really have an ego when it came to the work. Her curse was that she was so musical, so intelligent, that she could take on roles that her voice couldn't handle. But what she did was always wonderful. There's a good example of what I mean. Callas — artist. Tebaldi — wonderful singer."

"This rivality was really building from the people of the newspapers and the fans. But I think it was very good for both of us, because the publicity was so big and it created a very big interest about me and Maria and was very good in the end. But I don’t know why they put this kind of rivality, because the voice was very different. She was really something unusual. And I remember that I was very young artist too, and I stayed near the radio every time that I know that there was something on radio by Maria. The most fantastic thing was the possibility for her to sing the soprano coloratura with this big voice! This was something really special. Fantastic absolutely!"

"To work with her, you had to really understand how she saw your role, not how you saw it. She had a very clear-cut understanding of her role, and you had to fit into that interpretation. She was so great, [yet] she could not distance herself from a role. It was actually quite terrifying — she would at times actually cry while singing! You must only portray the emotions, not become personally involved. But Maria always became the role. She was such a servant of the text and the composer, she would tear her voice to ribbons to accomplish it!"

"I did it to serve Callas, for one must serve a Callas."

"The last great artist. When you think this woman was nearly blind, and often sang standing a good 150 feet from the podium. But her sensitivity! Even if she could not see, she sensed the music and always came in exactly with my downbeat. When we rehearsed, she was so precise, already note-perfect. ... For over thirty years, I was Arturo Toscanini's assistant, and from the very first rehearsal, he demanded every nuance from the orchestra, just as if it were a full performance. The piano, the forte, the staccato, the legato — all from the start. And Callas did this too. ... She was not just a singer, but a complete artist. It's foolish to discuss her as a voice. She must be viewed totally — as a complex of music, drama, movement. There is no one like her today. She was an esthetic phenomenon."

"About Maria Callas, I am honestly practically devoid of words. And that must be the case when one comes up against a phenomenon that one simply can't explain, but whom one appreciates. Indeed, as far as I'm concerned, I've been in love with her for years. She is, I think without any doubt at all, (and I don't mind what letters come to me tomorrow) the greatest theatrical, musical artist of our time.... She has an enormous feeling for music. She has an enormous feeling for words. She has an enormous feeling for the dramatic situation. She can convey all those things to an audience in a way that practically no other artist alive today can do."

"The magic of a Callas is a quality few artists have, something special, something different. There are many very good artists, but very few who have that sixth sense, the additional, the plus quality. It is something which lifts them from the ground: they become like semi-gods. She had it. Nureyev has it, [Laurence] Olivier. But Olivier is also a case of an extremely rich knowledge of everything. He is completely coherent in his life, onstage. Whatever he does is part of a complete personality. Maria is a common girl behind the wings, but when she goes onstage, or even when she talks about her work or begins to hum a tune, she immediately assumes this additional quality. For me, Maria is always a miracle. you cannot understand or explain her. You can explain everything Olivier does because it is all part of a professional genius. But Maria can switch from nothing to everything, from earth to heaven. What is it this woman has? I don't know, but when that miracle happens, she is a new soul, a new entity."

"I'm not a politician, I'm a musician. I care about giving people a place where they can go to enjoy themselves and to begin to live again. To the man you have to give the spirit, and when you give him the spirit, you have done everything."

"I remember when I began singing, in 1961, one person said, "run quick, because opera is going to have at maximum 10 years of life." At the time it was really going down. But then, I was lucky enough to make the first Live From the Met telecast. And the day after, people stopped me on the street. So I realized the importance of bringing opera to the masses. I think there were people who didn't know what opera was before. And they say "Bohème", and of course "Bohème is so good.""

"I think an important quality that I have is that if you turn on the radio and hear somebody sing, you know it's me. You don't confuse my voice with another voice."

"Penso che una vita per la musica sia una vita spesa bene ed è a questo che mi sono dedicato."

"If children are not introduced to music at an early age, I believe something fundamental is actually being taken from them."

"I am a very simple person. In spite of all that has happened to me, I have tried to remain the simple person I started out."

"Every day I remind myself of all that I have been given. … With singing, you never know when you are going to lose the voice, and that makes you appreciate the time that you have when you are still singing well. I am always thanking God for another season, another month, another performance."

"As an art form, opera is a rare and remarkable creation. For me, it expresses aspects of the human drama that cannot be expressed in any other way, or certainly not as beautifully."

"In opera, as with any performing art, to be in great demand and to command high fees you must be good of course, but you must also be famous. The two are different things."

"It is not always a matter of wild ovations and legendary performances. Sometimes you are just happy to get through an opera without trouble."

"For all three of us, the Caracalla concert was a major event in our lives. I hope I am not immodest to think it was also unforgettable for most of the people who were present."

"Nothing that has happened has made me feel gloomy or remain depressed. I love my life."

"Some can sing opera, Luciano Pavarotti was an opera. No one could inhabit those acrobatic melodies and words like him. He lived the songs, his opera was a great mash of joy and sadness; surreal and earthy at the same time; a great volcano of a man who sang fire but spilled over with a love of life in all its complexity, a great and generous friend. … I spoke to him last week... the voice that was louder than any rock band was a whisper. Still he communicated his love. Full of love. That's what people don't understand about Luciano Pavarotti. Even when the voice was dimmed in power, his interpretive skills left him a giant among a few tall men."

"He was always helpful to me, supporting me in my very difficult moments as well, due also to a severe illness. He was very close to me, he was calling me quite often and giving me a lot of support and putting me in the right spirit."

"I always admired the God-given glory of his voice — that unmistakable special timbre from the bottom up to the very top of the tenor range. … I also loved his wonderful sense of humor."

"I had the pleasure of not only performing for him in tribute, but performing in his stead at the Grammy Awards in 1998, singing 'Nessun Dorma.' I had one magnificent and absolute and defining moment when he came to the stage to thank me for my performance. The world has lost one of the greatest voices of all time."

"Pavarotti made a profound contribution not only to music and the arts, but also to people in need around the world. His work for children — particularly those affected by armed conflict — stretched from Afghanistan to Liberia and beyond. By staging concerts and marshaling talented friends to help raise funds, he generated millions of dollars for humanitarian aid."

"The whole world will be listening today to his voice on every radio and television station, and that will continue. And that is his legacy. He will never stop,"

"Papa told her about a Lohengrin performance. It was just before his first entrance. He was ready to step into the boat, which, drawn by a swan, was to take him on-stage. Somehow the stagehand on the other side got his signals mixed, started pulling, and the swan left without Papa. He quietly turned around and said: "What time's the next swan?" That story has since become a classic in operatic lore."

"During my first year on the stage at Brünn [1896/97] I conceived the idea of a pilgrimage to Bayreuth, in order to hear and to see the wonders of Wagner's works at the spot dedicated to his memory. I was successful in my application to the management of the Festival for a free pass for the cycle - four nights of The Ring of the Nibelungen and Parzifal, on condition that I sang at an audition held in Bayreuth by Frau Cosima Wagner, who took every opportunity of seeking new talent. [...]"

"After America had entered the war in December 1941 all postal service with Germany and Austria was stopped. But Papa had faithfully kept on writing to me, a ten-page letter nearly every week. They were never mailed and I found them, neatly bundled, sealed and addressed to me. … And now, on the plane, winging back home, I began to read his letters. They are remarkable documents. It's the whole war, as seen from the other side, through the eyes of a man who detested the fascist system, who hated the Nazis with a white fury. In the midst of the astonishing German victories in the early part of the war he was firmly convinced that Hitler MUST and WOULD lose. He dreaded communism, and all his predictions have come true. He told of all the spying that went on, the denunciations to the Gestapo, the sudden disappearances of innocent people, of the daily new edicts and restrictions, of confiscations that were nothing but robberies, arrests, and executions; how every crime committed was draped in the mantilla of legality. His great perception, intelligence, decency, his wonderful humanity, his love of music and above all his worshipful adoration for his Elsa — through every page they shimmered with luminescent radiance."

"In the days when we went gypsying A long time ago; The lads and lassies in their best Were drest from top to toe."

"This Don Giovanni had heat, passion and total commitment from everyone involved under dynamic, dramatic direction of conductor Metodi Matakiev. The Don was Lithuanian baritone Vytautas Juozapaitis, a highly physical, Douglas Fairbanks / Errol Flynn kind of Don. Tall, dark, quite handsome, a really sexy beast possessed of a bronze colored voice of power and some suavity, completely at ease on stage, and finally a Don who actually ENJOYS to the hilt the life of a promiscuous hedonist. He was close to irresistible."

"Vytas Juozapaitis is simply terrific as the Don; lean, agile, and the possessor of a Zorro-like sexiness, he seemed part old fashioned matinee idol, yet firmly rooted in the here and now a la Johnny Depp. Like the singer, the voice is attractive, lean and powerful. His seduction of Zerlina, smooth as silk. He had the audience in the palm of his hand."

"The greatest credit for the evening's success must be given to the rich-voiced Juozapaitis as Giovanni, and bass-baritone Stefano de Peppo as… Leporello."

"Lithuanian baritone Vytas Juozapaitis brings presence and a warm, strong voice to the title role. When we first see him, hair flying in mid-rape, he looks like Johnny Depp in Pirates of the Caribbean."

"From his entrance, in medias rape, Vytas Juozapaitis had a compelling presence as both seductive and dangerous Don Juan. He had a dash, swagger, a sense of humour, and a strong, lustrous voice. He's a good actor too. You believed both in the way he was driven by his carnality and in his self possession. In short, he embodied the music."

"The slim and agile baritone, Vytas Juozapaitis, portrayed the Don as a self centered nobleman. He sang with a pleasant voice, and unlike most interpreters of the role, he had no trouble tossing off the 'Champagne Aria' at top speed."

"Tuesday's cast was first rate, led by the remarkable Lithuanian baritone, Vytas Juozapaitis, in the title role."

"Young Lithuanian baritone Vytautas Juozapaitis was well cast as the suave serial seducer with his aristocratic good looks and deep voice. Most women would find him charismatic if not irresistible. From the first moments it became evident that this company, with attractive sets and costumes, is miles ahead of most touring troupes. Theatrically and musically gratifying were the other cast members, all with international experience."

"The performance of Mozart's Don Giovanni Tuesday night at the University of NH, Johnson Theatre, was absolutely stunning. Lithuanian baritone, Vytautas Juozapaitis, (Don Giovanni) not only had the necessary voice, but he played the boastfully lecherous rake to great fanfare."

"The Don's difficult role never seemed to tax Juozapaitis excellent dramatic voice. Throughout the opera listeners were charmed by his great expressive range as he moved with ease from comic exchanges with Leporello to tender love sings."

"What can I write about Vytautas Juozapaitis? Months ago, a singer with this same name gave one of the most Mozartean accounts of Don Giovanni I've ever experienced: a lean, yet warm sound, exciting and a little on the dangerous side - utterly (and wonderfully) self-absorbed. The man singing Giorgio Germont could not possibly have been this same artist. This was Verdi singing of the highest order - as if to the manor born. A molten, rich expressivity and attention to Verdian line that in its size, detail and musicality recalled the greats: Gorin, Merrill... you get the idea. The name may not trip off American tongues with ease... yet, but in an era often thought bereft of Verdian voices Juozapaitis is the real deal. Every moment of his Germont was filled passion and, like all of the cast members, every word of the Italian was naturally produced and understandable. Mama mia this man's got it!"

"With Vytautas Juozapaitis as a perfectly evil Don Giovanni, the Teatro Lirico d'Europa seduced an audience of about 850 at the Garde Arts Center Monday night. Juozapaitis, a singer with the Lithuanian National Opera, stood out as the despicable title character of this most famous of Mozart operas. He took over the stage with both his supple and strong voice as well as a stage presence that seemed so natural it was hard to look at him without thinking he was Don Giovanni."

"Lithuanian baritone Vytautas Juozapaitis, last year's devilish, dark-toned Don Giovanni, Teatro Lirico has a powerful singer with an impressive stage presence. Sparks flew because Vasileva and Juozapaitis created such emotional tension: she more nuanced than the usual submissive heroine, he more sympathetic than the stock villain."

"Last night's fierce-eyed Don Giovanni, sung by Vytautas Juozapaitis, was a lean and hungry predator (...) Mozart's dark comedy has been realised with grandeur."

"This accessible production [of Don Giovanni - ed.] concentrates on the comic delights of the piece and rests heavily on the roguish charms of Vytautas Juozapaitis in the title role. Indeed, he's so delightfully decadent, and so charismatic a performer, that the righteous indignation of those he has harmed makes them seem priggish in comparison."

"Baritone Vytautas Juozapaitis was perfectly full of himself as Don Giovanni. His hilarious interactions with sidekick Leporello, played by the animated bass-baritone Stefano de Peppo were the highlights of the show."

"Most noteworthy was Vytautas Juozapaitis in the title role. He nailed the role with his well projected baritone."

"The Mozart Festival Opera's production of Don Giovanni made the three hours fly. The miming between Stefano de Peppo and Vytautas Juozapaitis as Don Giovanni was great physical comedy that had the audience laughing out loud. Juozapaitis possessed the voice, swagger and stage presence to match and dominate Leporello, and his costumes are among the best I've seen. I think Mozart would have approved."

"Vytautas Juozapaitis' Don Giovanni filled the performance. The singer won the audience not only with his impeccable impersonation of the gallantly vicious philanderer, but also with his vocal rendition that didn't leave any of the listener's desires unfulfilled."

"Equally up to the task was baritone Vytautas Juozapaitis who's tortured characterization of Rigoletto was near flawless, strong and acted with intelligence and emotional depth. Mr. Juozapaitis has a full baritone that displays nice range and clarity, and coupled with the ease with which he commanded the stage, provided just the right measure of appeal that communicated to the audience the conflict and suppressed rage the character, no doubt, felt toward those who used and mocked him. Nicely done!"

"In the pivotal title role (Rigoletto - ed.), Vytautas Juozapaitis - fondly remembered for his marvelous performance of the title role in Mozart's "Don Giovanni" with the Lirico here in 2003 - sang with a dark, commanding, tragedy-tinged baritone that vividly conveyed the character's flawed humanity and despair. And he masterfully delivered the role's two big arias."

"Charismatic Lithuanian baritone Vytautas Juozapaitis was a spirited, energetic Don Giovanni who held the audience's rapt attention whenever he was on stage. He had an authoritative sound that could be romantically enticing in an attempt to seduce a lady, but could change instantly into a commanding tone when anyone attempted to thwart his will."

"Bad boys have long fascinated audiences as well as storytellers, whatever the medium. Such rebels, often without causes beyond self-gratification, have been at the center of much of contemporary popular culture. One of the paradigms for such dramatized morality tales is Mozart's magnificent "Don Giovanni," whose musical and theatrical turns evoked awe and laughter and terror from the more that 1,500 music fans who on Saturday night flocked to Lawrence's Lied Center for the Mozart Festival Opera production. The libertine is thoroughly disreputable. Nonetheless, we look on in fascination because of his devilish smile, dashing good looks, ready wit, and the audacity of his hyper-inflated ego. If you can imagine a young Jack Nicholson with mustache, cape and a flair for sword play, you've got it. Lithuanian baritone Vytautas Juozapaitis gave the Don appropriate swagger and voice. He also brought a comic twist that gave the roué a touch of the trickster. Stepping out of character for a second in the midst of a briskly paced recitative, he paused, turned, and looked up at the supertitled English translation as if to check his lines. It was a joke shared by all. The pleasure of performing, even in the opera's most dramatic moments, was evident."

"I do not subscribe to the theory that when a popular member of the company leaves, it is the end of the world — that things will never be the same again. Of course they won't, for each artist leaves something of himself or herself in a role."

"Yet, like so many of the D'Oyly Carte principals, he makes up in enthusiasm what he lacks in vocal prowess."

"I must be the oldest living child soprano."

"Louis B Mayer created a situation that was just like a very big family, but with love and loyalty for everyone."

"La mort est dans l'adieu d'un ami veritable."

"Herbert von Karajan always rolled out a magic carpet for us, the singers. With him, our musical work took on another dimension."

"People may say I can't sing, but no one can ever say I didn't sing."

"Mrs. Jenkins could dream if she could not sing."

"Critics have long wondered whether Coloratura Jenkins' art can be described as singing at all. But she will intrepidly attack any aria, scale its altitudes in great swoops and hoots, assaying its descending trills with the vigor of a maudlin cuckoo."

"She never knew how bad she was."

"Listen to anyone in the street and he’ll tell you what to do. Our people are wise."

"Ukraine can become a successful country and a major player on the political stage if we start heeding the voices of the people."

"Responsibility has increased at times. We have no right to be in depression. We must pull ourselves out at any cost. We have a unique chance and we have no moral right to lose it. We have no right to lose Ukraine!"

"On December 8th and 10th in the Lviv Organ Recital Hall, the choir and orchestra of the Lviv Higher Music Institute M.V.Lysenko under the direction of Heorhyj Pavlyj performed Henry Purcell's opera, "Dido and Aeneas," in commemoration of the 300th anniversary of the composer's death. However, among the soloists, Vasyl Slipak (countertenor, by the way, the only in Ukraine) charmed audiences with his expressive manner of singing."

"But that all changed in 2014, when Russia invaded the Ukraine. Slipak left the opera and joined as a volunteer with the free Ukrainian forces, fighting in the eastern Ukraine, carrying a belt-fed machine gun and adopting the nom de guerre "Meph" based on his highly praised renditions of the aria "Mephistopheles" from the opera "Faust." He adopted a traditional Ukrainian hairstyle, similar to a Mohawk, and served at various positions along the front lines in a maze of Russian minefields and trenches. Along the way, he became a folk hero to the Ukrainian people. It can truly be said that while the Soviet Union collapsed in 1991, and Ukraine became a separate country, its real independence dates from Maidan Square, and Wassyl Slipak is a national hero for giving up an incredible career and the luxury of celebrity and fame to help make that possible."

"He was a brilliant singer and a brilliant person. Vasyl Slipak could never stay aside the injustice. When he decided to go to Ukraine, I tried to persuade him to remain in France, just willing to defend him from potential threat. But he insisted Ukraine needed him more than French opera."

"[He's] more than a colleague, more than a friend. I feel him like a brother. A man who loved every culture, you know, an open minded man."

"Finally he decided to go to the frontlines because he needed to feel useful and to defend his country — it was so important for him. It's about the culture. It's not really about politics. It's about the freedom of his country."

"He never stopped to sing, never. It's about resistance. It's not about to be a soldier. He is a singer who decided to defend his country — that's all."

"I feel he chose the name Meph because this is the possibility to say. I'm a singer and I'm here to fight and this is a symbol. The possibility to give the people a question: Why is a singer here, why?"

"I am proud to be a brother of such a person. Now all I can is hope that Ukrainians will make right conclusions and will move on, as my brother wished they should have done."

"Let's bow our heads, citizens. A great Ukrainian was killed today while defending our land and all of us... Wassyl Slipak, globally renowned opera singer, who had lived and worked in France for 19 years, in the Paris opera, but abandoned his career and returned to defend Ukraine when Russian aggression started, was killed at the front line near Donetsk as a Right Sector fighter. Volunteer soldier Wassyl Slipak is an example of a patriot citizen. Waasyl Slipak died as a soldier. Books will be written about him, streets named after him; concerts will be held for him, and students will be told about him in schools and conservatoires... Rest in peace, dear Meph, you laid your life for each of us, we will not forget your sacrifice for Ukraine. We will not be half-hearted."

"Since Russia started its aggressive actions against Ukraine he quit his European career and returned to Ukraine (as a volunteer soldier) to defend his homeland. He died in the ranks of the nationalist group Right Sector at the frontline in the Donetsk region. His nom de guerre was Myth – a shortened version from Mephistopheles (the Faust opera). He was not a professional soldier, he was a singer…"

"Ukraine this year celebrated 25 years of independence, but it was real independence only after the Maidan, when a real state started to form. Here we have an example of a person who left his career to fight. New heroes of the new Ukraine are being born."

"Mr. Slipak was born in the western city of Lviv on Dec. 20, 1974. A musical prodigy as a child, he rose quickly to fame performing in France in the late 1990s. By 2011, he was at the top of his field, winning the prize for best male performer at the Armel Opera Competition and Festival in Szeged, Hungary, for his rendering of the Toreador Song from the opera Carmen.He adopted a traditional Ukrainian hairstyle, similar to a Mohawk, and served at various positions along the front line — a maze of trenches and minefields that surrounds separatist territory. Mr. Slipak, who had won fame in France for his renditions of the aria of Mephistopheles from the opera «Faust», adopted the nom de guerre Meph."

"One of the worst abominations of this filthy war is that the Russian world is losing its lumpen population, while Ukraine is forced to lose a whole cross-section of society. The «Russian World» is losing car wash cleaners. Ukraine is losing opera singers, journalists, IT specialists, businessmen… Russia is grinding up the Ukrainian gene pool. It is doing to Ukraine what it has done for centuries to itself. The surname of Slipak I have heard for the first time today, but the very fact of the loss of this life – for me this is a tragedy. Don’t ask for whom the bell tolls… This should be a separate item of charges during the Hague trial. Not just a crime against humanity. A crime against the human gene pool. Against the human race. Against culture. Against science. Against development. A crime against the planet. A crime against the future. «Irreparable damage to the future of mankind». That is how that paragraph should probably read. At such moments, I feel particularly sharp guilt for the fact that there is nothing I can do to stop this. There is no way I can affect this… I tried. I honestly did. But there are more of them. Millions. I’m sorry."

"The international jury of the Festival and the Opera Competition in Szeged composed of: Raymond DUFFAUT – the chairman of the jury, Andrea Rost, Esther Lehoczky, Henry Little, Luca Targetti and Walter Kobéra decided that “The Emperor of Atlantis” by Viktor Ullmann, a performance directed by Beata Redo-Dobber with Tomasz Tokarczyk as a director of music, was the best of five performances presented between 6 and 14 October in Szeged. According to the jury’s verdict, Wassyl Slipak, playing the role of the Death (Der Tod) in “The Emperor of Atlantis” was awarded the prize for the best soloist. The verdict was announced during the official gala at the Theatre in Szeged on 15 October."

"He was Energy, filled with optimism. No matter what happened, no matter how hard things got – he always smiled, joked and looked up to the sky. He kept moving forward. Two meters high, with a straight back, and always speaking the truth. He lived through what he did. He didn’t just sing – he was a hero of the stage. And he fought the same way, not talking about the war itself. He loved his friends and was fierce with his enemies. Ukraine flowed through his veins. That was his typical Galician-Slipak-Omelyan persistency – believing that he was the one who could change the world. Infinitely outgoing, he was always ready to give you everything he had without a thought. He was the type of guy that would nonchalantly come visit you for a day that would turn into a month, and then just as easily invite you over to his place for another month or two. The stage was his calling. His Hollywood. He was on that path since childhood. Dudaryk (Men’s Choir), the French Grand Prix, the Paris Opera – these aren’t just his achievements, but also, in our mind, the achievements of our family and of all of Ukraine. I can still hear his rendition of “When the two parted” while we were his guests in Sardinia. That was the last time when our big family was together. The Maidan changed him. He was always ashamed, to some extent, that he wasn’t on that smoke-filled square. He wrote, called, and actively organized help for our cause from France. After the first war, he came back a changed man. Even stronger, more persistent and more focused on the important things. He died like the true Cossack that he wanted to be – that he was – with a weapon in his hands. Fighting. There is nothing harder than burying your loved ones. I don’t know how it is up there for you, Vasya. It might have been better if you stayed at the opera, and taught everyone on Facebook how to better control the world and to overcome the Moskals. Rest in peace, Brother! Rest in peace, Wassyl Slipak!"

"Then, we sang «Requiem» by W. A. Mozart. This piece requires quite a large team of musicians – 50 people in the orchestra and the same number in the choir. But there are also some passages for the soloist like «Tuba Mirum». So, when Wassyl started to sing this excerpt himself, I suddenly realized that he made the 250 meter-long hall resonate his voice. It is something that fifty of us managed to do only all in unison. Now, as a specialist, I can say that he got his rare timbre not by accident. His oval face with a long nose and elongated neck are typical signs of a bass voice that he developed later. But at the same time, he sang countertenor up to 28 years because his voice transformation happened extremely late. In other words, Wassyl managed to combine in himself two incompatible voices and perform both of them on a big stage. Call it what you want – God’s gift or a joke of nature, but it was amazing. At that time we did not see each other for three years. After that pause, I met Wassyl again and did not recognize him. He turned from a skinny young man into a courageous giant – big, strong and serious. But his internal changes were even more impressive. He became a principled patriot, he did not seem to tolerate things which were OK for him earlier when it came about Ukraine. But the largest change happened in his voice, because he began to sing bass."

"I had heaps of work those days, it was very intensive and seemed to me endless. When I felt so desperate that I was about to give it all up, Wassyl was the only person who supported me: ‘Don’t worry, we will be doing everything together and we will succeed, he told. It was so simple, sincere, and convincing that I couldn’t help believing it. Since then our collaboration began. He was extremely useful for Ukraine here, in France. He was a true intellectual, he spoke seven languages. After Natalka Pasternak [Ukrainian community leader in France – Ed.] had passed away, he was the only person who had potential to unite us, to lobby Ukrainian interests on an international level… But he had a need to be at the forefront, where modern Ukrainian history was being written. So he abandoned work, stopped looking for contracts and sang only occasionally, so that he could send some money to Ukraine."

"Amid the thud of artillery and rattle of gunfire, Vasyl Slipak’s deep, resonant voice in the trenches of eastern Ukraine was a warm reminder of humanity’s less barbaric traits. The professional baritone had left his native Ukraine in the 1990s to settle in France, where he regularly sang at the Paris Opera. But after war erupted in 2014, he decided to return home and join a volunteer battalion to fight Russian-backed separatists on the country’s eastern front."

"We saw him off with applause. Lviv, meet the Cossack. It's a pain..."

"There are strong people in the world, who stand up for ideas by means of their talent. They are artists or craftsmen, writers or farmers, who are proud of their history, their past, present, and future. They switch from one art to another, forgetting that there is no otherworldliness on Earth and that human stupidity is a very complicated art which can only be appraised in the course of time and in silence. The same also applies to Vasyl Slipak – we in the West call an exalted voice like his the ‘voice from the Don’ because of its profundity and strength. This time it is about his last cry of freedom. This opus is not aimed at glorifying those who are ‘for’ or ‘against.’ I want to explain by means of this opus that, whatever the case, people must not die in the 21st century, sacrificing themselves on the altar of the god of war. The truth is hidden deep in the heart, and while peace protects it, war destroys it. So let me remember Vasyl Slipak as a friend who had no enemies and whose superb voice carried love for humanity. (2017)"

"I told about Vasyl to French composer Pierre Thilloy, my good acquaintance, and offered him to write a small piece. He creates music which is easy to listen to, and he agreed immediately and said he would like to visit the premiere.(2017)"

"I would like to say that many French people from various walks of life hardly knew anything about Ukraine before the events on Maidan. Thanks to Vasyl Slipak, an opera singer, they became interested in your country, they watched televised reports. There also was an extensive publication about him in France’s most popular daily Le Monde, which awoke a wide response. It was some seven or eight years ago. We were acquainted by my friend, an interesting composer Yevhen Halperin (his father comes from Kyiv), a friend of Vasyl. They lived in the same house in Paris, but on different floors. At a party at Halperin’s place he said, ‘This guy has a unique voice, just listen.’ I was impressed by Vasyl’s talent and offered him to take part in our concerts. We performed Requiems by Verdi and Mozart back then, later we had some 10 to 15 programs together. We had successful opera gala evenings, and we were planning to perform Beethoven’s Symphony No. 9, but it wasn’t to be. (2017)"

"He was really successful, he had very many concerts in Paris. In music circles everyone knew him. I believe that in about five years he would have become a hugely famous singer, because he was getting more and more invitations as an artist. I never saw him in a bad mood, he radiated positive emotions even if things were not going best. Meanwhile, it was not always easy for him, there were various situations concerning his career or money. When we were working on concert programs, he acted very professionally. We had a great relationship as colleagues. We knew and sensed each other well. Also, sometimes we had very personal conversations. (2017)"

"Vasyl was supposed to become my vocal adviser in my future project. For three years Slipak was a soloist at the Grand Opera. He got solo parts, but he also wanted to have concert practice, that is why he chose a sort of freelance. Mind you, when the war in the east of Ukraine broke out, his vocal career was on the rise. Characteristically, Vasyl did not give up his career, he would be active as a volunteer, then he would return from Ukraine to France to give concerts and appear in performances, and then again he would go to Ukraine, which he loved above all. And then again more concerts, and again back to the front. (2017)"

"You know, in his last six months Vasyl had changed a lot. Many tried to talk him out of going to the war, but he was adamant. All his money and all his energy he gave to the cause of the new Ukraine. It was his motivation in life. What a shame that a sharpshooter’s bullet took the life of terrific vocalist and patriot. Our duty is to remember Vasyl Slipak. I want to join my Ukrainian colleagues to discuss some future art projects. We already had a meeting with Volodymyr Syvokhip, director of the Lviv Philharmonic Society, and we plan to hold a Vasyl Slipak Open International Memorial Music Marathon in Lviv from June 29 till July 1. (2017)"

"Despite having a successful artistic career (Slipak lived in France for the last 19 years of his life and worked as a soloist at the Paris Opera), he did not stay aloof to the hardships that our country was going through when the war started. He managed to juggle volunteer work and performing in plays and concerts at first, brought humanitarian aid himself, and in summer 2015, he put a successful career on hold and went to defend the country in the ranks of the Right Sector volunteer battalion. In particular, he fought the forces of the so-called ‘Donetsk People’s Republic’ in Pisky... Slipak was a patriot, an excellent singer, and an example to all Ukrainians. (2017)"

"Vasyl’s unique voice extremely harmoniously combined with his physique. He was a tall man of attractive appearance and unfailing courtesy, and it all prompted adequate response from the audience. Above all, he emphasized schooling, culture and high technique of singing! Our country has lost a talented artist who sacrificed his international career to defend the nation for which he gave his life. “My task is to make sure that Vasyl is not forgotten, and therefore we will definitely hold a memorial festival at the Lviv Philharmonic Society from June 29 to July 1. (2017)"

"Mother once said our grandfather Vasyl, after whom my brother was named, had sung very well and been a very interesting person in general. So it is believed that Vasyl inherited his talent. He supposedly had a unique voice.(2017)"

"Because he used to sing all the time and something was to be done with this. Vasyl was already 12, and I told parents that if the boy did not study seriously, he would waste his talent. Dudaryk was a very high standard at the time. Although the brother was formally too ‘old’ to qualify, he adapted quickly and easily became part of the team. Yes. Then he became a soloist, sang in concerts, particularly, with such celebrities as Dmytro Hnatiuk, Nina Matviienko, and other stars. Choir director Mykola Katsal was doing his utmost for each of the children. The choir provided not only a musical, but also a general education, and the children received true development. Vasyl became well known still at Dudaryk after singing solo in Carl Orff’s Carmina Burana. Then was Pierrot’s Deathly Loops by Oleksandr Kozarenko. The composer had written something futuristic and could not finish his opus. But he heard Vasyl’s voice when the latter was rehearsing in the Lviv Conservatoire’s classroom. Oleksandr came in and understood that he was composing for this very singer. The premiere was staged first in Lviv and then at festivals in Kyiv and Odesa. Thereafter, no major national festivals in Ukraine were held without Vasyl.(2017)"

"Even more! He had a unique talent for languages and did not have to learn any. He never did any courses! When he came back from France, he spoke French. He would quickly learn the language of any country he came to – Polish, Spanish, German, Russian… This came very easily to him. He never spent as much time to learn a language as, for example, I did. I envied my brother in this case. Moreover, he not only spoke nut also wrote. The French praised his French very much. His ear for music must have helped him. Besides, he had a good natural memory. Hence were his broad communication and a career growth.(2017)"

"You know, he learned continuously! He took lessons even at age 42. He did it meticulously, without being ashamed or considering himself a star that can rest on his laurels. He had a need for self-improvement.(2017)"

"He worked very actively in the last year of his life. Everybody says he was at the peak of his career in 2016. He had an enormous number of concerts to give from September 2015 to May 2016.(2017)"

"Frankly speaking, he did not say much to us about the front. I could guess about many things but don’t know exactly. He said he was rendering humanitarian aid and supported, as a volunteer, people with various needs. But it is clear that it was not the case. He didn’t want to discuss with me the details of his trips and comment on his attitude to the sides of the conflict in eastern Ukraine. He used to say: ‘I am where my friends, the people I trust, are.’ Only chevrons could reveal where he went to.(2017)"

"They are saying now that Vasyl Slipak was a Ukrainian patriot, a nationalist… He undoubtedly was, but not in the sense that dominates in our society! I’ve never seen him show a prejudicial attitude to other peoples. It would have been absurd to hear this from his mouth. A European person, he performed both in Europe and in Africa and received a warm welcome everywhere.(2017)"

"About a month before his last trip to the front, all his friends noticed that he had changed very much – he stopped talking about the events in Ukraine, became quiet and even-tempered. He decided on what he was to do.(2017)"

"I think it was a prescribed road of sorts. The things that had occurred since his childhood were some coincidences, but he kept on walking. It’s the illustration of a 42-year-long life, sort of an encyclopedia. Vasyl was not concerned about his career, he accepted things as befits a man, he was calm about the challenges of fate, well-balanced, and polite. Sometimes he could be tough in defending his position. But, in my view, everything was painted somewhere above. It’s easier to say that it was God’s will.(2017)"

"Many people were wondering what a brilliant opera singer was doing in the war in Donbas. It was his personal example of self-devotion to his country. Forty-odd years old Vasyl Slipak was known throughout Europe as an opera singer, he played leading roles in many perfomances, could have had tremendous future, however when the war broke out at homeland, he could not but step in ... The role of Mephistopheles in the opera «Faust» of Charles Gounod was Vasyl Slipak’s favourite, that’s why his nickname Myth was in tune with it. Vasyl Slipak’s life may have been short, but as full of heroism as mythology. He showed the audience a rare and exceptional singing art. His vocal talent was called a wonder of nature, and many teachers wished to have Vasyl in their class. When journalists found out that there was an opera singer at the front line, the news about him started spreading far and wide. Vasyl Slipak did not turn down interviews. He tried to explain to people his position, to support those who lost faith, and to draw in some help for the fighters.(2017)"

"Vasyl Slipak is a lighthouse of the Ukrainian nation. Through his spiritual light, he pointed to the whole path, the path of goodness, devotion, sacrifice, and patriotism. Although he was forcibly extinguished, Ukrainians should go further and not change the road.(2017)"

"Vasyl Slipak showed by his example an incredible will of Ukrainians to defend their native land. As a volunteer fighter, he demonstrated an example of patriotism and self-sacrifice to many, particularly our young people.(2018)"

"I am going to tell you a story. The story of a person for whom being listened to became the sense of his life. That's because that man had divine voice. He was called the best baritone and countertenor of the world. His voice sounded in Carnegie Hall here in New York, in Notre-Dame de Paris, Covent Garden Opera in London, and Grand Opera in Paris. Every one of you could have listened to his incredible singing, but, unfortunately, there is a thing that will not allow you to do so again. I looks like this and I will show you. That is. 12.7 millimeters, which not only ended his career - it stopped his life. By the way, it costs only ten U.S. dollars. And this is, unfortunately, the price of a human life on our planet. A man I've just told you about was Vasyl Slipak. He was a Ukrainian and soloist of the Paris National Opera who was murdered in Donbas, defending Ukraine against Russian aggression. (2019)"

"This woman was Cathy Berberian, a personality in her own right, an artist of the rarest kind and a splendid singer to boot. Everything she did bore the hallmarks of authenticity. Whether it was early music (Monteverdi) or contemporary works (Berio, Kurt Weill and Stravinsky), everything rang true. And as for Debussy, I don't think anyone could sing him better. She has a way with Sprechgesang that won me over completely. She's a mistress of metamorphosis, a female chameleon. At the time of her concert, she was suffering from a dreadful cold, but it didn't stop her from singing for a moment. Mastery and total freedom. And the wit that she brought to her impersonations! And the way the danced the Azerbaijani song, as well as the Offenbach and Gershwin! What a phenomenal talent!"

"She helped me feel like I could take risks with the music, which you’re often told not to do. When you watch her, you see that it makes a difference. From now on, I am not going to be afraid to individualize my performances to the max. I won’t be afraid of liberties, if the score permits them. I know I can do it."

"Mimì vergisst nie, die Schönheit im Leben zu sehen."

"When an audience gives you love, you can feel it."

"Jüdische Geschichte ist voll von Leiden und schrecklichem Kummer. Aber sie ist auch voll von unermesslicher Freude. Wir ehren das Leiden durch Erinnern. Wir ehren die Freude durch Feiern."

"Unglaublich viel Musik, die wir kennen, ist von jüdischen Künstlern. Sie sind immer da. Es weiß nur niemand, dass sie Juden sind."

"Ob Sie Adeles "Skyfall" von Megan Marie Hart intonieren, von Kylie Minogue piepsen oder von Tupac Shakur rappen lassen, macht einen Unterschied."

"I have always found poetry and beauty in the church attributing central stage to a female presence who works on our behalf. I am a devotee of the Virgin to whom I always dedicate part of my prayers."

"To be able to interpret a piece, I have to fall in love with it. First and foremost, it must fill me with emotion so that I may do the same for those listening to it, even when I’m not composing the music or the lyrics, if I accept to sing a piece, it is because it reaches my heart and at that point it becomes a part of me, it’s my own."

"I go around doing many, many different things. I speak to children, doing motivation speeches. And Disney helps me when I do something for Childhelp and abused children. We’ve raised a great deal of money to buy units that go out into the suburbs of Knoxville and help children who can’t afford to come in to doctors and everything. I love to do that. I have always loved children. They seem to have a certain affinity with me. I just enjoy their naturalness and their joy of living and their questions. It keeps me young, frankly."

"Self control is a very complex quality."

"Because we take on different roles every day, we are able to see life from many perspectives. On stage, a person cannot act falsely. For three hours, you live a different life. However, you must control your emotions. In cases where one becomes overwhelmed, there are times when they cannot hold themselves and end up crying. That is how a person dedicates themselves to their role. We are fortunate to transform into many characters. Living a monotonous life would be sad."

"When it comes to the standards of classical art, much can be said. It requires very high sensitivity. For us, emotions can easily fall and recover quickly. But that sensitivity can be harmful to oneself because one becomes startled by events here and there. That is why there seem to be exceptional people. Performing a large-scale opera requires singing continuously on stage for three hours. For example, imagine I am the lead character in an opera. Singing nonstop on stage for three hours expends as much energy as working underground for eight hours."

"La femme est un grand enfant qu'on amuse avec des joujoux, qu'on endort avec des louanges, et qu'on séduit avec des promesses."

"Tel est le sort des femmes galantes: elles se donnent à Dieu, quand le diable n'en veut plus."

"If you knew what a sensation of the nearness of a higher power one instinctively feels when one is permitted to contribute to the good of mankind, as I have done, and still do! Believe me, it is a great gift of God's mercy!"