[Frank] Sinatra, to everyone, even Tony Bennett, was such a huge influence because he had mastered not only music, but film and radio.

I didn't want to become this stiffened - and that was just a personal choice, at that time. And, the idea was also to go to film first, get enough notoriety in film that I could interpret some of the opera stuff the way I would want to interpret it.

Here I was in Estonia, doing a concert for 5,000 people, and not many people know the song My Way - Gorbachev in the 80s, My Way had just become a famous song, and [Mikhail] Gorbachev in a satirical, kind of cynical manner coined the term the Sinatra Doctrine and My Way was the song because the Baltic states in the Warsaw Pact wanted to go their own way and secede from the Soviet Union, so joking he says," Yeah, we've got the Sinatra Doctrine now."

The [Frank] Sinatra interpretation of the music, as opposed to some other music that you were listening to - where you felt like they were singing at you - you felt Sinatra was singing to you. It's a very intimate art form, and that's what I responded to - the intimacy of his performance.

I trained with a guy named Tito Gobbi, who was the Marlon Brando of the opera world. Tito Gobbi was the greatest singing baritone in the opera world and I studied in Florence, Firenze, with him. That was my first love, as it was Frank Sinatra's, oddly enough.

In an Italian household, there were two figures for me growing up - you had the Pope and you had Frank Sinatra, and, of course, Tony Bennett. And not necessarily in that order.

That's what [Frank] Sinatra did. He was the first artist to come out in a major way against anti-Semitism and racial bigotry. And those are huge things back in the 50s and 60s and 70s - and he was doing this in the 40s.