Explorez tous les épisodes du podcast Speaking Personally: Louis Quilico in conversation with Christina Petrowska Quilico

In this conversation, Louis talks about his first Rigoletto, in Burlington, Vermont, 1959. 

In this conversation, Louis recalls some last-minute saves that turned into triumphs, and talks about working with conductors, and about some of his favourite singers.

In this conversation, Louis shares his views on the teaching of singing, and talks about the different roles of voice teacher, a vocal coach, and an accompanist (or collaborative pianist).

In this conversation, Louis reminisces about his five hundred and seven performances of Rigoletto, as well as the dangers of claques, the role of the prompter, and some unexpected moments on stage with Dame Joan Sutherland.

In this conversation, Louis talks about good advice he received from the legendary Swedish tenor, Jussi Björling, and about how he discovered his own vocal technique, which kept his career going for years.

In this conversation: Louis' thoughts on operas in translation, on intonation (good and bad), and about some of the hazards he had to negotiate on stage.

In this conversation, Louis shares stories of some memorable onstage mishaps.

In this conversation, Louis discusses the career path for young singers, how to work with record companies and agents, and how to calm an unruly audience.

In this conversation: Louis' thoughts on the study of singing, and the importance of discovering your own vocal technique, as well as some memories of triumphs in Russia and at Covent Garden.

In this conversation, Louis compares and contrasts some of the characters he has portrayed – Scarpia in Puccini's Tosca and Iago in Verdi's Otello; Renato in Un ballo in maschera and Rodrigo in Don Carlo.

In this conversation, Louis discusses the importance of the baritone roles in the operas of his favourite composer, Giuseppe Verdi.

In this conversation, Louis remembers two favourite productions, a Lucia di Lammermoor at Covent Garden, and an I Puritani with Beverly Sills among others – and he offers some advice on handling stage directors.

In this conversation, Louis offers more insights into interpretation – how Verdi's Macbeth must be treated differently than the Shakespeare play.  And: hilarity in rehearsals.

In this conversation, Louis shares the secret of how he made the role of Rigoletto his own.

In this conversation, Louis gives his opinion and modern staging of classic operas.

In this conversation, Louis talks about his twenty-five years at the Metropolitan Opera, and about how he views the story of Rigoletto, from the opera's opening to Rigoletto's encounter with Sparafucile.

In this conversation, Louis continues to discuss his favourite opera, Rigoletto, from the Rigoletto's meeting with Sparafucile, to the 'vendetta' duet with Gilda, after the Duke has had his way with her.

In this conversation, Louis tells the story of Act Four of Rigoletto, and reflects on seeing the opera with modern eyes.  Also: performing Wozzeck leaves him exhausted and in need of medical attention.

In this conversation, Louis discusses playing the title role in Alban Berg's Wozzeck, which he calls a 'treacherous' piece to perform. 

In this conversation, Louis offers his reflections on stage directors – friend or foe? – and compares two of his comic roles: the rather straightforward Dr Bartolo in the Barber of Seville versus the ever-evolving Falstaff in Verdi's final masterpiece.

In this conversation, Louis recalls some amusing incidents in productions of Barber of Seville, and offers advice on dealing with opera critics and their reviews.

In this conversation, Louis shares the secret to producing a healthy vocal sound and having a long singing career: flexibility.  And he offers advice on voice lessons and singing teachers.

In this final conversation, Louis offers his advice to singers:

- trust your own voice,

 - don't let others bully you,

- be faithful to the composer,

- always search for truth and simplicity in your performances,

- and above all, love what you do: singing isn't just a way to make money.