When I wrote the opera, I made a deal with myself that for at least an hour a day I would work on it, even if it meant just sitting on my piano bench, staring into space and thinking about it. It's about keeping it regular, like your bowel movements - let's get real: it's your bodily artistic movements! It comes from the same place.

Once you've fallen from classical virtue, won't have a soul for to wake up and hold you.

I definitely was always expected and encouraged to be a songwriter from a very young age, ... But really it's because, as a child, I thought I was Judy Garland. And when I started out, I was a little nuts. I thought I was a classic, legendary superstar when only 10 people knew who I was. I feel in some ways that my confidence is misinterpreted as arrogance, which is understandable. But I've also always thought that false modesty is evil.

Growing up, for years and years I had no idea what the plots of operas were, and that's part of what fascinated me - I could make them up and learn bits and pieces of what was going on over time. There's something about it being always a step away that makes it more fun to chase.

The more hedonistic you were, the better...I very much subscribed to that as a young artist.

There is actually a great book called Prima Donna by Rupert -Christiansen that deconstructs the myth. In fact, many of the women who were prima donnas were feminists and incredible forces for their time.

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.