Well, an opera production is a very delicate and complex endeavor. You deal with so many people, often with diverse intentions -- the director, the conductor, the orchestra, the singers, in this case also the composer, the technical director, the staff and so on.
I have to admit that from beginning on I considered "The Child Dreams" my personal piece and I had a very specific vision. And I was determined to get my vision on that stage.
I know I demanded too much and I really pushed the boundaries. But I had no choice. I was on a mission; it was about artistic integrity. And I was convinced that I also owed this to Hanoch Levin who is one of the most radical and poetic writers I know.
I had no problems with Gil Shohat the composer, and the ballet kids loved being soaked in fake blood and suspended high up in the air. I also liked working with Omri, the director, but then I got the opera into troubles because I insisted on having real children on stage, because I hate the usual fat actors or singers with bad wigs, pretending to be little children.
Then the minister for labour demanded to read the script and was naturally horrified, so he decided that kids in that play could not be under 14. But I insisted that especially the name part had to be a real child: tiny, fragile and vulnerable; but the singer wanted the lime-light and fought for that role and Omri and the other singers took her side.