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I think a composer is always interested in his last work.

Which is why, in my lieder concerts, I always strove, when possible, to sing only the works of a single composer, so that the audience could be gradually drawn into a particular creative genius' way of thinking, and could follow him.

I came across a lot of young composers who have got passion but lack experience. I want to help them out.

If a composer is to reach his audience emotionally - and surely that's what theatre music is all about - he must reach the people through sounds they can relate to.

My musical knowledge is so bad it's embarrassing. When composers discuss music with someone as primitive as myself, they have to talk about it in terms of senses and emotion, rather than keys and tempo.

Composers, like authors, have a lot in common. Our main goal is to connect with the listener emotionally.

Any subject is good for opera if the composer feels it so intently he must sing it out.

What inspires me is not so much the music as the opportunity to interact with composers. I think that has driven everything I've done.

The real composer thinks about his work the whole time; he is not always conscious of this, but he is aware of it later when he suddenly knows what he will do.

I consider myself a composer.