“Verdi’s operas are very precise. There is not a single superfluous word or note. They are highly concentrated. To preserve the strength of THE TROUBADOUR, you must be careful not to tell a million things at once. One must keep the surface simple. The opera is very passionate. The music goes through extremes: from very quiet to very loud, from expressions of love to expressions of hate. It takes an extraordinary depth of emotion to perform this work. It has to come from the singers’ center. Often, Verdi is portrayed outwardly by conductors, orchestra, and singers. It becomes sentimental. That is false. It has to be felt inwardly. Without it, Verdi’s music loses its power.”

“Verdi’s operas are very precise. There is not a single superfluous word or note. They are highly concentrated. To preserve the strength of THE TROUBADOUR, you must be careful not to tell a million things at once. One must keep the surface simple. The opera is very passionate. The music goes through extremes: from very quiet to very loud, from expressions of love to expressions of hate. It takes an extraordinary depth of emotion to perform this work. It has to come from the singers’ center. Often, Verdi is portrayed outwardly by conductors, orchestra, and singers. It becomes sentimental. That is false. It has to be felt inwardly. Without it, Verdi’s music loses its power.”

“Verdi’s operas are very precise. There is not a single superfluous word or note. They are highly concentrated. To preserve the strength of THE TROUBADOUR, you must be careful not to tell a million things at once. One must keep the surface simple. The opera is very passionate. The music goes through extremes: from very quiet to very loud, from expressions of love to expressions of hate. It takes an extraordinary depth of emotion to perform this work. It has to come from the singers’ center. Often, Verdi is portrayed outwardly by conductors, orchestra, and singers. It becomes sentimental. That is false. It has to be felt inwardly. Without it, Verdi’s music loses its power.”

“Verdi’s operas are very precise. There is not a single superfluous word or note. They are highly concentrated. To preserve the strength of THE TROUBADOUR, you must be careful not to tell a million things at once. One must keep the surface simple. The opera is very passionate. The music goes through extremes: from very quiet to very loud, from expressions of love to expressions of hate. It takes an extraordinary depth of emotion to perform this work. It has to come from the singers’ center. Often, Verdi is portrayed outwardly by conductors, orchestra, and singers. It becomes sentimental. That is false. It has to be felt inwardly. Without it, Verdi’s music loses its power.”

“Verdi’s operas are very precise. There is not a single superfluous word or note. They are highly concentrated. To preserve the strength of THE TROUBADOUR, you must be careful not to tell a million things at once. One must keep the surface simple. The opera is very passionate. The music goes through extremes: from very quiet to very loud, from expressions of love to expressions of hate. It takes an extraordinary depth of emotion to perform this work. It has to come from the singers’ center. Often, Verdi is portrayed outwardly by conductors, orchestra, and singers. It becomes sentimental. That is false. It has to be felt inwardly. Without it, Verdi’s music loses its power.”

“Verdi’s operas are very precise. There is not a single superfluous word or note. They are highly concentrated. To preserve the strength of THE TROUBADOUR, you must be careful not to tell a million things at once. One must keep the surface simple. The opera is very passionate. The music goes through extremes: from very quiet to very loud, from expressions of love to expressions of hate. It takes an extraordinary depth of emotion to perform this work. It has to come from the singers’ center. Often, Verdi is portrayed outwardly by conductors, orchestra, and singers. It becomes sentimental. That is false. It has to be felt inwardly. Without it, Verdi’s music loses its power.”