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I had found English audiences highly satisfactory. They are the best listeners in the world. Perhaps the music-lovers of some of our larger cities equal the English, but I do not believe they can be surpassed in that respect.

When I was doing 'Britain's Got Talent,' I really enjoyed it, but I found it very difficult to be in the audience. I like to be on stage; I feel safer on stage because I'm in control.

When I hear that young people have come to the theater for the first time to listen to opera, I'm very happy. Because it's the same thing that happened to me as a child. When I first heard the tenor voice, I immediately fell in love with this kind of music.

London has this culture of the theatre that is so big, it was a like a dream - but I never had a thought to be able to play here because my English was not very good. So being given the opportunity to come work here was like a gift.

I spent a long time in London on the stage, and you knew exactly what you were going to be doing. You not only knew the performance, but you also knew exactly where you would stand.

I was attracted to opera when I was 15 or 16. A very rich man in England bankrupted himself to put on a lot of opera during the war, but he converted a lot of people, myself included, in the process.

I like the idea of people coming to opera for the first time and finding it an enjoyable experience. I don't like the fact that opera is seen as elitist and all black ties and that stuff.

Speaking purely from a musical standpoint, I think I am a great performer.

At first, I found the music I was making really hard to find a home for. I felt like my attitude was really British, but not the actual sounds I was making. Back in 2003, when I made 'Galang,' there were no clubs that had an 'anything and everything' attitude.

I've always gravitated towards opera, and the Royal Opera House is quite possibly the greatest opera house on earth.