Well, in my opera’s people know what to expect, so they — and normally I sort of audition people and pick people that I like, and that I know that are happy to do that. ((Orkly Kid)) But for Up-close, it’s a different story, already it’s Sol Gabetta, the cellist who did the premiere, but she has never — I mean she doesn’t have a lot of experience with contemporary music, let alone walking with an antique lamp across the stage.

So, there was a — when I told her that she had to put down her cello at one point and do all these sort of staging things, she was sort of looking at me with slight worried. But once we started working, she completely trusted me, and she turned out to really like these aspects of the piece and was really — started enjoying it more and more. So, I think it’s a matter of trust also, and it’s — my task is to convince the players that it’s really necessary for the story and for the piece and not something that is just there as entertainment. ((Fast As Speed, Graphic Notation))