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

In this conversation, Louis recalls some

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.