"The performances of my works in the last 10 years are probably equal to all the previous years put together. There are so many venues now and there is a completely new public for opera that's grown up outside of the traditional core opera public"

In this quote, Carlisle Floyd assesses the development and increasing appeal of his operatic works over the past decade compared to earlier periods. He suggests that current efficiencies of his compositions correspond to the cumulative overall of what was attained in the years before this period. This signifies an impressive growth in the direct exposure and reach of his work, suggesting that his operas have acquired considerable momentum and acknowledgment recently.

Floyd associates this surge in efficiencies to the growth of venues and the emergence of a novel audience for opera. The increase in locations signifies higher opportunities for operatic efficiencies, suggesting a broader geographical reach and maybe the democratization of opera, which has traditionally been confined to classical and city settings. This growth might include brand-new opera houses, multidisciplinary theaters, and perhaps non-traditional spaces happy to host such efficiencies, consequently making opera more accessible to various communities.

Furthermore, Floyd observes the advancement of "a completely new public" for opera. This could suggest an audience that diverges from the classical opera fanatics who have traditionally controlled the scene. This new audience might be younger, more varied, and more open up to ingenious and modern interpretations of opera, reflecting more comprehensive changes in cultural intake patterns and a shift towards inclusivity and range in the arts.

Floyd's commentary exposes an optimistic view of the art kind's future, recommending that opera is not just sustaining its significance but is likewise developing and expanding into new cultural areas. This evolution may be due in part to social shifts in cultural gratitude, technological improvements that enable wider dissemination of efficiencies, and possibly even changes in how opera is taught and appreciated in instructional contexts.

In essence, Carlisle Floyd recognizes a dynamic and broadening future for opera, one that welcomes brand-new audiences and chances, thereby ensuring its ongoing importance and dynamism in contemporary culture.