This September I was in Paris working at the Opera Comique for the first time. This was another Katie Mitchell project - 'Miranda - after Henry Purcell' - this was a collaboration with the brilliant conductor Raphaël Pichon and playwright Cordelia Lynn. Taking Purcell's music they had fashioned something of a 'sequel' to Shakespeare's 'The Tempest'. It was a fascinating exercise in making something new from something old - it was wonderful to have the freedom to play with the form and, most importantly, with the music. Raphaël was amazing at being open to playing with the music, adding an abstract soundscape - this is something that rarely happens in the opera world, where there is often an incredibly restrictive 'respect' for the music - I say 'respect', because I don't believe for a moment that the composers whose music we so often work with, would have been as intransigent as the conductors into whose hands that music is now placed. Miranda was a fascinating step in a very interesting direction.