and he worked with me on his music and second vie newcenter 5 i can that i needed to learn and manuel rosenthal met and conducted our french triple bill and he was literally connected -- i mean, he was a ravel protege. the point is all of this flow through-- which i always try very hard to get because i -- i just felt we were getting further and further away from composers and when the pieces were so written and dwlapt to happen to me. >> rose: wh when you stand there or sit there you sit or stand on the shoulders of giants. >> that's right. >> rose: who helped you understand the music. >> this is what makes it critical to me >> absolutely. >> rose: do you see extraordinary talent? >> yes, without any doubt. i see -- individually i see plenty of talent. the phases change and the priorities change and there are institutional and structural crises but the talent keeps coming, thank god. >> rose: do you worry about orchestra and do you worry about opera and do you worry about its future? what can i say? we always worried? >> rose: so on the one hand you're absolutely there. and why is that? oh, lo