CARLISLE FLOYD

When I've seen my operas in Europe, they have always struck me as more American than when I hear them here. I can't tell you what that phenomenon is.

Like any other composer of opera, I choose a subject not for polemical reasons, but because it contains vivid characters in highly charged dramatic situations.

The story of Willie Stark fascinated me because it was tackling the story of a man who outwardly has all the success one could possibly want and who is destroyed by his personal demons.

I found a certain kind of music congenial to me; it never occurred to me to write music that was academically acceptable.

I find it enormously valuable to be sure that that the pacing is what I think it is and that the scenes have the shape I think they have musically and dramatically.

The artist is something of an outsider in America. I have always felt that America does not value its artists, certainly not in the sense that the Europeans do.

It's amazing how fast generations lose sight of other generations. One of the first things the young composers who come to work with me say is that they want to write music people will like, instead of gaining their credentials by being rejected by the audience.

Our most intimate contact with civilizations long since dust has been through the art which has survived them.

You can't possibly predict what will last or not. But once you attempt to write for the ages, you're doomed.

It seems to me opera is just as relevant as an expressive art as anything else.

If an American audience is given a serious musical theater piece that is well produced, dramatically gripping and wonderfully acted, they'll respond to it.

I was encouraged by my mother and, to a lesser extent, by my father.

Opera is given so little attention in the national press.

People in very high places suddenly fall, and we are always surprised because we don't factor in the basic element that they're humans and, therefore, they are flawed and have weaknesses.

What is American music? The most satisfying answer I've come across is that it was a kind of natural comfort with the vernacular which is diverse and regional; it's not one particular set of sounds.

The performances of my works in the last 10 years are probably equal to all the previous years put together. There are so many venues now and there is a completely new public for opera that's grown up outside of the traditional core opera public.

I've never set out consciously to write American music. I don't know what that would be unless the obvious Appalachian folk references.

I had all the normal interests - I played basketball and I headed the school paper. But I also developed very early a great love for music and literature and the theater.

America tends to worship the modest talent because it doesn't put us in an uncomfortable position vis-a-vis the artist.

Anyone who creates something new or does something different artistically is going to be singled out.

Socially I never was an outsider. I have never thought of the conflict element before frankly, but perhaps it was wanting to belong, and at the same time wanting to retain one's own personality.

There's the Bacon society, which is fostered by his fourth wife Helen Bacon, but I don't know what kind of performances his music gets. He wrote symphonic music and some chorale music.

We don't have access to a national forum that we had in those days, through the news magazines which were the television news of the time. It's very disturbing to me that we've sort of been pushed to the corners.

Most of the important composers in our country are clustered in the Northeast.

There is something inherent in our democracy that tends to want to level. America is a little uncomfortable in the presence of someone who is distinctly superior in whatever way.