kaufmann's worked many times with antonio pappano at london's royal opera house, and with him is no making to do it with him here. because he said you won't leave, so he's got to come to you. laughs well, it's my house, you know. of course he's maybe not the only fantastic conductor on the planet, but somehow i think we speak the same musical language. i hear he hums a lot. yeah, he does. i mean, i'm far away. if you sit in the front row right next to the pit you can probably hear him. all the time. and he's chewing also — it's as if he's digesting the music that he just creates. # getting slower and slower, which it should, but still with tension... # dulce... i think when otello's working correctly, you sort of feel like you shouldn't be watching. it's something so private, it's something so ghastly happening between, basically, two good people, otello and desdemona, and one very bad person. there are only a few singers who have the technique, who have the stagecraft, who have the courage, the charisma, to pull it off. if you don't know what you're doing, it can potentially do harm to yo