When I was young, my mother [folk singer Kate McGarrigle] brought home this recording of Verdi's Requiem and we listened to it from top to bottom. By the end of it, I was a completely different person. It was literally a requiem mass for my former self. I was about 12 or 13. The Requiem just totally hooked into what I was going through emotionally - discovering my sexuality right at the time when AIDS was devastating my community and dealing with intense parental situations.

When I was signed, at the age of 23...the fact that I presented myself as an out gay man was very, very unusual.

When it comes to sitting down and composing, there is no hesitation, no concern, no critics breathing fire down my neck. For me, writing a song is the purest part of all. No one can mess with that.

I was keenly aware that I didn't want to draw on too many typically doomed aspects of the fated singer. Whether it's Judy Garland or Norma Desmond, there is this tragic quality to older women that one can revel in, and you want it to be more three-dimensional than that. So it was important for the character to be strong and resilient, because there are so many victims in opera.

I would love to have a number one hit. The truth is if I don't get one, I'll be fine, but at the same time, the truth is that I'm dying for one, as well. But it's worth a shot, I think, while I still have cheekbones.

It seems like the older I get, the more unreal the world becomes.

A diaper is as inspiring as a drink.