I think one of the great things behind game theory, or game development, especially in education now, apropos, digital and new media, is finding a better, easier, more intuitive way to learn that takes that away from the drudge and the structured work part and puts it into the reflective, "I'm alive, I'm a human being, I'm not working right now," part. And I think that I would like to see music and arts and humanities become more able to even the color spectrum of the fan of activities.

I love to sleep because I need the rest, but I hate to miss something. I would love to be able to take a pill that I wouldn't have to sleep. So, sometimes what keeps me up at night is just that I don't want to say good-bye to that day. And at the same time, I love to start the next day. I think I'm essentially a very unsettled person.

I have every iPod that's been made ˘ that's how sick I am. I carry anything and everything I possibly would want to listen to. I have a lot of jazz. I adore Ralph Towner, Leo Kottke. I've always been a big Oscar Peterson fan. I've branched out a little bit more in rock-and-roll, but that's maybe because I'm 50 years old and I can now listen to Steely Dan again without shame. I adore the Grateful Dead. Creedence Clearwater Revival. Crosby, Stills, Nash, and Young. All that's been fun to get back into. But I'm no longer interested in the Doobie Brothers.

Being a classical musician I'm fascinated with how my colleagues, not just singers, but every musician finds ways to express something else or something new or the same ol', same ol' in classical music. I'm always in dialogue with other musicians at least orally, if I can't be with them and a lot of dead musicians as well. I've learned a lot from dead people on recordings.

Singing is not about timbres or category labels, singing is about fascinating acoustical properties like the colors of the human voice which derive from thought and emotion.

Once you go on stage you're essentially creating the world that people want to participate in. The worst thing you can do is go out on stage with the idea that you're going to communicate something you've learned and if you do it really well, they'll approve. If you go out in an approval process, you will be so nervous and so preoccupied you'll never get to the heart of what it is you want to make music with.

We don't present our voices to the audience, we resonate our souls.