Speaking Personally: Louis Quilico in conversation with Christina Petrowska Quilico

In this conversation, Louis discusses the importance of the baritone roles in the operas of his favourite composer, Giuseppe Verdi.

In this conversation, Louis remembers two favourite productions, a Lucia di Lammermoor at Covent Garden, and an I Puritani with Beverly Sills among others – and he offers some advice on handling stage directors.

In this conversation, Louis offers more insights into interpretation – how Verdi's Macbeth must be treated differently than the Shakespeare play.  And: hilarity in rehearsals.

In this conversation, Louis shares the secret of how he made the role of Rigoletto his own.

In this conversation, Louis gives his opinion and modern staging of classic operas.

In this conversation, Louis talks about his twenty-five years at the Metropolitan Opera, and about how he views the story of Rigoletto, from the opera's opening to Rigoletto's encounter with Sparafucile.

In this conversation, Louis continues to discuss his favourite opera, Rigoletto, from the Rigoletto's meeting with Sparafucile, to the 'vendetta' duet with Gilda, after the Duke has had his way with her.

In this conversation, Louis tells the story of Act Four of Rigoletto, and reflects on seeing the opera with modern eyes.  Also: performing Wozzeck leaves him exhausted and in need of medical attention.

In this conversation, Louis discusses playing the title role in Alban Berg's Wozzeck, which he calls a 'treacherous' piece to perform. 

In this conversation, Louis offers his reflections on stage directors – friend or foe? – and compares two of his comic roles: the rather straightforward Dr Bartolo in the Barber of Seville versus the ever-evolving Falstaff in Verdi's final masterpiece.