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 made the decision to take on board the critical feedback. Reviews are something you can easily ignore as a performer or writer but I chose to not ignore them here and I think that I benefited. I think I'm stronger for it - and I have a tougher skin as a result.

I am regarded as a usurper, as an imposter and dilettante, because I do technically come from the wrong side of the tracks in musical terms.

I have a three-year-old daughter, which makes me more environmentally conscious. For me, it's about the future.

Well, my great lesson with that was I went to the same production twice - once completely high and once completely sober - and both times were equally wonderful.

I'll always be a boulevardier. I have an extreme reverence and romantic longing for all that is decrepit and fatalistic.

Mowing your lawn is against nature.