I'd love to do 'Werther.' It's a great opera, and the music's so beautiful.
— Stephen Costello
As a singer, you can't hear what's coming out of your throat; you're only hearing it from the inside, so you need a trusted person who knows how your voice works. It's like a car. You take it to the same mechanic because they know it inside out, and every time you get it back, it works fantastic.
In productions such as 'Anna Bolena' and 'Rigoletto,' the costumes are tailored, and they're tight. In 'Moby,' it's like you're wearing pajamas, and you have more freedom. It's very comfortable on stage.
I auditioned for 'West Side Story' and got the part of Tony, but wasn't allowed to do it. They needed me to play trumpet. But I was glad, in the end, because I learned a lot about playing that score.
When I first did 'Moby,' I didn't realize how taxing it would be. I was climbing fifty feet up in the air and climbing down. Literally, it's so busy, you feel you're on a ship. You're always moving; you're constantly adding clothes or taking them off, and there are many people on stage all the time!
The louder I sang, the more it brought out the basic quality of the voice.
