Nevertheless, one doesn't have time to think, oh, well, this is a quarter tone sharp, or flat.
Well, opera began with an intent to resuscitate Greek drama, that is, modern opera as we know it.
Well, let me, first of all, say, that as a microtonal composer, I've never been much of a theorist.
I think a lot of composers get into trouble just making up a plot and expecting an audience to follow that.
What's important for me is to communicate the vision that I have in sound with the audience that's hearing it.
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.
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'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.
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.
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.