Top 33 Soprano Quotes

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.

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 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 love to sing. I’m a soprano.

A soprano’s voice is a little like a mother’s cry, which is why it attracts all human beings.

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.

As a boy soprano in the high school choir, I later sang a solo during the carol service at Canterbury Cathedral, but I was too young to secure the Freddy Eynsford-Hill role in our production of ‘My Fair Lady’ – and far too timid to have thought to audition for it.

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 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.

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.

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.

I really wanted to be an opera soprano.

I can honestly say that I’ve never seen such a transference, from person to character, as I have with James ‘becoming’ Tony Soprano. Because he was, of course, nothing at all like Tony in real life.

I was champion soprano of Sussex when I was 16!

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.

Nothing about Tony Soprano’s life was glamorous. He was never somebody I wanted to be. His life was terrible.

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!

I remember at the age of, and I’ll say this, 10 and a half, 11, I had a natural boy soprano.

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.

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.

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.

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.

My grandfather was actually a doo-wop singer in Panama. They were called The Dominos. He was the high soprano voice.

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.

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.

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.

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.’

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.

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.

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.

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 didn’t want to be Nelsons’s wife. I wanted to be soprano Kristine Opolais.

I am actually a soprano. No one knows this.