I did everything I could to not bring in any of the - any of the technical things I got from classical into jazz. And I did everything to really base it on my speaking voice and to just not try to make it sound pretty.

It takes me a lot of time, and it's almost frustrating for the guys sometimes because they're waiting for a new song. And I - it's just so important for me to get the perfect, exact, right song.

I just don't like to be in my own - I'm already myself, so I don't like to be in my own - like, watch myself.

I think I'm fascinated with history and - just in general. And I'm always interested in how did - how did this come to be? Why is this the way it is? And even singing classical voice, I quickly became more and more interested with early music, baroque voice. And that became an obsession to me - just figuring out how - who are the ancestors of whatever it is.

I remember in school - in elementary school - I used to recite poems. We'd have to recite poems. And I would always just, like, roll on the floor, like, just make it such a huge, melodramatic portrayal of whatever it was.

I doubt myself a lot. And I'm very, very just overly critical.

I do love being onstage. And I've always loved playing a character and being watched doing that.