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If you look at the timing of many of the Greek dramas from the theatrical point of view, it's all off, and I think the reason for that is that music played a very important part.
I've just simply used what I've used because of the great, great expressive potential of it.
I'm thinking in terms of a point of departure, a field of action for performers to express an expressive need of mine which hopefully the context of music would convey.
I want the audience to be so involved in the sweep of the music.
I think the composer and production staff of an opera have a real responsibility to use visual elements of all kinds to make clear to the American audience, at any rate, exactly what is going on.
I think one of the greatest enemies in the use of technology, however, is the idea that if you use the technology you have to throw other things out of the window.
I think I was first to do live performances on a modern electronic sound synthesizer.
I think a lot of composers get into trouble just making up a plot and expecting an audience to follow that.
I really write for people.
However, yes, especially as one gets older, you know, you really hope that your music will become more generally available, even though some of the performances might be riddled with faults.
But nevertheless, it's music ultimately that matters in opera, and opera is a piece of music reaching out as a vision in sound reaching out to the world.
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