A sensitivity to music is crucial; we must learn and understand it. It’s important to know whether and why particular forms or instruments are used, and what they are used for. While not all directors can read music, I believe it’s an absolutely invaluable skill. When I was preparing for „Il Trovatore,” I read various materials and delved into purely musicological studies. Even if I don’t use everything that has already been discovered, I consciously refrain from doing so. A director must know where the soloists have the hardest time, when they should rest, and when they can simply be allowed to „comfortably” remain on stage, building the performance on the foundation of their performance calm. (Orfeo)