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.

Quincy [Jones] is one of the greatest world figures, of all-time. I mean he's up there with Muhammad Ali, as far as I'm concerned. His humanitarian work, his contribution to the world and music - he's really an amazing man. Even political divides don't affect his humanity. So, to me, that was extremely meaningful.

I sing My Way, I say this to the whole country, Well, the President of Estonia sent me a message. He heard about it because of what's happening in Russia right now and the power grab that [Vladimir] Putin has.

My parents, the effect that [Frank Sinatra] had on the Italian community, in terms of all our friends at the house were multicultural. We weren't just Italians. My dad's close friend was a black gentleman - this was back in the early 50s when Tony Bennett was reprimanded for having lunch, when he was in the military, with a black man.

I had a different upbringing - my dad worked three jobs. You know, it wasn't as easy as they had it.

Concurrently, while I was in school, while I was winning awards for acting, I was winning awards for singing, in high school. One of the reasons why I decided to continue on with the acting was the opera world is fraught with a very long process, and I did love the acting, as well. The acting took off sooner, and then you get involved with that.

I just sang, recently, for the Prime Minister of Bangladesh - the 34th most powerful woman in the world, according to Forbes Magazine. The United Nations had an event where her son got an award and they put me on this special program on competitiveness and sustainability, and we're talking about doing a world tour of me and the music.

There was something in the bel canto, not just opera, but a certain style of Italian singing that I responded to deeply.

I was born in the 50s, my mom was pregnant in the 50s, [Frank] Sinatra had that big come back around then, From Here to Eternity.

You have to have a certain kind of celebrity to pull something that big together, but I had a whole thing called The Spirit of Man that I wanted to do worldwide concerts in celebration for the spirit of man. So, as I move forward, that would be the kind of thing that I have.

I studied with Stella Adler and I didn't like the representational aspect of most opera singers. Most of the opera singers had not a false, but over theatrical way of presenting.

The music and the message, to me, is something that is imperative and that's what drives me know.

I think back, when I saw The Great Gatsby, the film, my grandfather probably helped supply all the alcohol to all these Southampton parties, back then.

You have your children and it's hard to even hold it in - emotionally.

His [Frank Sinatra] voice defined not only a certain period of time, but America and what America meant to the world. Sinatra grew up, as my grandparents did, when being Italian was very, very prejudice against, but they didn't let it bring them down or use it as an excuse.

I had a little bit of a vocal strain at a certain period of time that made me lay off the singing, and while I was lying off the singing, I was pursuing the acting.

It didn't feel organic and [Tito] Gobbi was one of the artists that was able to, along with Maria Callas, incorporate not just the sound, but the emotion, the technique of the singing.

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.