“His (Kawabata) works have been called works of emptiness, and himself, a master of the unsaid thing. I feel that the fact that so much of what he communicates is not exactly in the words, in the language, that this gives us a chance to explore the kind of underlying meanings of it in music and dance. “
“I tried to build a group around singers that were able to sing any solo requested in the music we perform, but that equally loves, if not more, to sing in ensemble. “
“My whole career is built on finding the light in the darkness and presenting them right next to each other, sometimes in the same chord, sometimes in the same phrase. So yeah, things are dark undeniably but i think that makes the light brighter.”
“I love the idea of this relationship (Lola and The Fairy Prince) being central to this opera that sort of swims in this universe of sort of like erotic, and choral cooing. I wanted the end for the Fairy Prince to really kind of undergo this gender transformation and make it more of like a journey of self-discovery.”
“I love the idea of this relationship (Lola and The Fairy Prince) being central to this opera that sort of swims in this universe of sort of like erotic, and choral cooing. I wanted the end for the Fairy Prince to really kind of undergo this gender transformation and make it more of like a journey of self-discovery.”
“I use what I know of one field in the other field, and vice versa. I try to use what I know in every field in any way, that’s who I am. And I make the best I can with what I’ve experienced. But for me, it’s certainly not two separated worlds in my mind. It’s constantly traveling from one to the other. “
“I would say it’s a sort of a ping pong game where you play both sides, and I wouldn’t put it in boxes. It’s good singing and deep singing, it’s just the honesty, the artistry, and the purity that your approach shows, it shouldn’t be a contradiction. I think it fits very well together. “
“All the art forms that has to do with singing have a message. There’s always a message that you have to give to the audience. “
“The important thing is to treat each side of music in its own terms, or on its own terms. You don’t stay rigid in your approach to each one, but you think what says this best. If you do that, it becomes much easier to include loads of different styles of music in one concert or keep that much music in your library. “
“I think composers are feeling much more free, and they take inspiration from other fields, not only jazz and maybe pop, but also other not westernized music, Asian, African, so we get this sort of mix that’s very attractive.”
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