Every night my mother would put us to bed to classical music, my younger brother would fall asleep instantly, but I was different and I couldn't sleep until the record was finished. I would secretly leave my room and stand in front of the mirror that was in the long corridor next to my room and I would dance and pretend I was Montserrat Caballé in La Traviata.
If you think Tarantino is extreme, read any story about Greek Mythology. It makes him look like a schoolboy who wrote a fairy tale that went wrong. The Greeks did it better - and bloodier. Fathers devouring their sons, mothers murdering their loved sons just to avenge their ex-partner. There is no such thing as a happy ending in the ancient Greeks.
I always wonder why it is that audiences boo. Opera audiences can get extremely cross about interpretations of their favourite operas, especially the classics. I'm more concerned with the need, the irresistible urge even, to be outraged by a director's interpretation and to give voice to that frustration.
The arts industry is, especially today, awash with the cult of personality. Too often the focus is drawn to the people at the top, or the PR stunts that propel them onto a few thousand twitter feeds and by which an industry appears to now be judged, diverting the issues or introducing unnecessary ones.
English National Opera's new production of Vaughan Williams's The Pilgrim's Progress highlights the company's commitment to celebrating great 20th century British opera. Yoshi Oïda's directorial debut with ENO marks the first full professional staging of Vaughan Williams's seminal work since its premiere at the 1951 Festival of Britain. The waiting is finally over.
My eye was caught by the largest of these graves, at the very bottom, the name 'Luciano Pavarotti', his date of birth and date of death. Gifts left in front of it, small toys and sealed letters. With the cameras pointed at us, Charlotte and I spoke about the great man and what it was like to be at this monumental site in his hometown... I almost cried.
Glyndebourne's summer opera festival is notable not only for its world-class opera productions, but also as a celebration of the joys of social pantomime. For many, it is a summer ritual that requires careful sartorial and culinary decisions beforehand, and a great deal of enjoyable play-acting once there.
I am not entirely sure whether to be pleased or depressed that the latest Britain's Got Talent sensation, Jonathan and Charlotte, are becoming such a phenomenon. On the one hand, it partially proves the theory that there is an enormous untapped appetite for opera (or operatic-like noises) in the UK.