That inner voice has both gentleness and clarity. So to get to authenticity, you really keep going down to the bone, to the honesty, and the inevitability of something.
I think about that 'empty' space a lot. That emptiness is what allows for something to actually evolve in a natural way. I've had to learn that over the years - because one of the traps of being an artist is to always want to be creating, always wanting to produce.
When I'm an audience member I do not want to go and see something that I already know, I want to see something that I don't know. I want to be surprised and stimulated to think about something. I want the magic. I want to be in a situation of uncertainty; that's what excites me.
Sometimes in the past when I was going to perform a piece again I would listen to old recordings and try to reproduce the material. This time I realized that carrying around old information, trying to get everything in, and still be in the moment just doesn't work.
I somehow sensed when I was a teenager that I wanted to do my own work. I was quite clear that I didn't want to be an interpretative kind of artist. I had an intuition about wanting to create my own form, in one way or another, whatever that would be.
Yes, the more I go through life I realize that there's really no separation between practice and art at all. The two things more and more become one rather than two different aspects of my life.
I've never had an empty house. Ever.
It's been a continuity right from the beginning - that longing to weave together perceptions, to affirm the richness of us as human beings both as performers and audience members.
When you start worrying about form, then you're not in the moment.
As artists, I think that one of the good qualities we have is that we're imaginative. We're resourceful. We like challenges.
I have always believed that we all have male and female within us.
In the late '70s I was asked to sing for the first time in Germany. I'll never forget it. It was at a festival in Bremen. The German audience went berserk and the reviews were a phenomenon. For some reason the German audience understood how technically challenging this music was; it wasn't just someone yelling their head off.