The terror of performing never goes away. Instead, you get very, very comfortable being terrified.

Nerves, stress and the pressure to perform are a part of life. You don't have to conquer these feelings; just learn to live with them.

When I think of people I am close to, I genuinely feel that I can include Josh Lyman, Toby Ziegler, C.J. Cregg and Sam Seaborn.

I think [the virtual choir] speaks well to a benevolent future for the Internet.

With vocal and choral music, first and foremost, it's the text. Not only do I need to serve the text, but the text - when I'm doing it right - acts as the perfect 'blueprint', and all the architecture is there. The poet has done the heavy lifting, so my job is to find the soul of the poem and then somehow translate that into music.

When I went to college at the University of Nevada back in Las Vegas, I got tricked into singing in choir. The first thing we did was the Mozart 'Requiem.' That was the piece that changed my life overnight.

For the first six or eight months at Juilliard I felt paralysed. I didn't know what I was doing.

When you look back on music history, it falls into these neat periods, but of course, the period you yourself are living through seems totally scattered and chaotic.

There must be four or five hundred choirs here in London alone. In a way, there's nowhere else on Earth I could go and get this level and passion for singing in the one place.

In Las Vegas, the magnitude is impressive, but the humanity is gone. It feels like you're being intimidated out of your money instead of inviting you to come have this experience.