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I will never master this craft. Orchestras are very, very forthcoming with me.

When facing symphonic orchestras which have played some works five thousands times, you have nothing to do.

Quite a few operas are still being commissioned around the world, although nothing apart from audience popularity can ensure more than a few performances.

The performances of my works in the last 10 years are probably equal to all the previous years put together. There are so many venues now and there is a completely new public for opera that's grown up outside of the traditional core opera public.

Well, the very best operas are the ones written by the very best composers.

When I'm alone at home, I really prefer to listen to Wagner's orchestral music rather than any vocal music. I find it illuminating not to have to pay attention to voices in the recordings.

In my view, the operas of Carlisle Floyd will find a place in the permanent repertoire.

My operas usually come from musical ideas rather than ideas about subject matter.

Between parts I was too old for and roles that were too overwhelming, out of reach then for my voice. I carved out a niche with the Wagnerian repertoire since I am attracted by its theatrical intensity.

Now the big question is if you are going to go to all the trouble of setting an opera and making all that music and so on, there's got to be some aspect that you can do in an opera that really makes it worth while.