"In my off time, I come home. My wife Yoon and I live in NY. She plays violin in the orchestra of the Metropolitan Opera. I don't get enough of a chance to see her and I'm hardly ever at home."
"These singers are also part of a whole team where they have a certain amount of responsibility as section leaders of the Verdi Chorus, and it is up to them to know their music better than anyone else and develop their musicianship."
Shady characters aren't new for the affable Finley; before adding Iago, Baron Scarpia (Tosca), and Duke Bluebeard (Bluebeard's Castle) to his repertoire, his career was famously rooted in two of Mozart's most prominent cads, Don Giovanni (Don Giovanni) and Count Almaviva (Le nozze di Figaro).
"It's like when you meet a love for the first time and for the first two months it's ecstatic love. That's what I need to do with my music and with roles; to have that spark at all times because it's what refreshes me."
"Getting my hands dirty planting the earth, tending to the land with a chainsaw, baking and brewing, reading, and maybe driving up the Highway 1 coastline will ultimately blow out any cobwebs. Also, long walks and hikes really get my ideas flowing."
"Let's face it: if we had the chance to clone ourselves in a younger self and keep our memories or our soul…I wonder how many of us will take the chance immediately."
"I have always felt that Baroque music is my natural habitat. I love working with historical instrumentalists, everything about their unique colour, tone and pitch feels comfortable for me and relates to the way I sing a line or phrase."
"I wish I had started to save money earlier. I wish I had invested in travel containers for toiletries earlier, because I cannot tell you how many tiny shampoos I have accumulated over the years."
"I often take for granted how lucky we are to have access to such wonderful music and music-makers in London. The rich history of classical music in London has enabled musicians to take advantage of world-class composers, conductors, teachers and venues."
"Handel wrote this role for castrato Gioacchino Conti, who was, by all accounts that I read, a complete freak of nature: he could allegedly sing high Cs (as in, C6), and while he preferred to sing roles with more lyrical material, he was known to be equally virtuosic in how he executed coloratura."