<html><head></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; "><br><div><div>On 02.03.2012, at 21:32, Tony Hardie-Bick wrote:</div><br class="Apple-interchange-newline"><blockquote type="cite"><span class="Apple-style-span" style="border-collapse: separate; font-family: Helvetica; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-align: -webkit-auto; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; -webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; font-size: medium; ">I struggle a bit with anything like a formal operatic vocal, but this is really<br>fascinating... sounds and context-setting a great source of inspiration, and<br>another unexpected angle on electronic music<br></span></blockquote></div><br><div>And much better than The Knife's "Tomorrow in a Year" sorry-excuse-for-the-artform-formerly-known-as-opera. </div><div><br></div><div>The guy of The Knife actually said "I never read a libretto before I wrote this piece"…</div><div><br></div><div>Kai</div><div><br></div><div><br></div></body></html>