I first talked to Michael Steinberg on stage. The work was Schoenberg’s massive “Gurrelieder”. I was singing the part of the Bauer, and he was taking the part of Der Sprecher, a role written in Sprechstimme, halfway between speaking and singing. Michael’s German, remembered from childhood, always had a kind of English tinge to it, and he was an elfin presence anyway. I remember particularly the physical way he intoned the last lines: “Erwacht, Erwacht, ihr Blumen zur Wonne” with all his might and main, his small body shaking. Michael had a child’s kind of wonder. Sitting on stage next to each other, he lost no time in giving me a quick review of an operatic performance I had just sung.