The more you're out there singing, learning, and adding roles to your repertoire, it reforms the next piece.
Acquiring a repertoire in these days, when the vocal literature is so immense, so overwhelming, that the student with sense will devote all his energies to work and not imagine himself a martyr to art.
When the student has her voice under complete control, it is safe to take up the lyric repertoire of Mendelssohn, Old English Songs, etc. How simple and charming they are!
I did a pop album, 'Sogno,' in 1999. I think it's important to record another pop album because many people love pop music. By this kind of repertoire, some people can later discover classical music.
As a disciple of my father's, I was certain I wanted to include one of his own raga creations on 'Home', as they are so beautiful; whilst many of his creations are part of the general classical repertoire for all musicians, many more are only played by those of us who learned from him, and therefore need to be played.
I think that designers have an incredibly broad creative repertoire. They solve. They create images of perfection for any number of clients. I could never do that. I'm my client. That's the difference between an artist and a designer; it's a client relationship.
It's the transformation that drives me. I want to do it all and never want to be boxed into something as a particular type or style. I never want people to think they know me. I hope to build a repertoire that one can look at and say, from to role to role, 'Was that Brian Tee?'
A lot of people would have loved me to keep singing... You come to a point where you have sung, more or less... your whole repertoire and you want to get down to the job of living.
Even if you're playing the most well-known repertoire under the sun, I still believe you have a responsibility as an artist to tell the audience why you're playing it, what are the key aspects to it, and then throw in a bit about its historical context.