You may be disappointed if you fail, but you are doomed if you don't try.

I never breathe through the nose, not when I'm singing. In the opera, you don't have so much time. That's fine at the beginning of an opera or after somebody else has been doing an aria, and you want to get a good fresh start.

This joyfulness that I felt when I sang, and this need to communicate with people, these are my two strongest points. I've always been a people person. I love people; I like to be with people, and when I got on stage, I was home free.

The 'Daughter of the Regiment' that I did in Boston was vintage Sarah Caldwell, which is to say it was brilliant. Before my career was over, I'm sure I sang the role of Marie at least a hundred times, often in productions that cost a fortune, but none touched hers.

In a sense, I revolutionized the operatic scene because I proved you can make a great international career without the Metropolitan. I'm the only singer who's done that, and I'm proud of that, so it's all worked out for the best.

There is a growing strength in women, but it's in the forehead, not in the forearm.