I went along at my appointed time — it was in New York — and sang for this group of directors from opera houses all over the place. I sang the second aria from Tannhäuser, which is one of the early operas of Wagner, and it was a very good choice, because you’re only accompanied by the brass instruments in the orchestra, which means unless you have very good breath control you can’t do this aria. It is very slow, and it’s very hymn-like in the way that it’s composed. It’s not a lot of orchestral accompaniment that is kind of brilliant and spectacular. It really is a prayer, and so either you can pull it off or you can’t. You really can’t sort of cheat on it. And it’s, again, one of these fantasy stories. Egon Seefehlner was one of the directors that was sitting there. He actually came backstage after I finished my little presentation and he said to me, “Do you know the rest of that opera?” And so I said, “No, but I could know it by next week.” And he said, “It doesn’t need to be quite so early. You would have time.” So this was in May of a year, and he said, “I have looked at my calendar all through the time that you were singing, and I could offer you a date in November to sing this opera at my opera house.” I said, “Fine. Wonderful.” I mean at 23, what is not possible, you know? So I said, “That sounds like a good idea.”