![]() The fabulously inventive score speaks for itself. ![]() ![]() A Buñuel fan might want to analyse how Adès and his librettist and director, Tom Cairns, have reshaped the original – tightening it from ponderous fantasy into macabre thriller – but we shouldn't waste too much time on comparison. This exploration of a collapsed society is a natural choice for Adès, long drawn to the darkly comic or the inexplicable, whether in his operas Powder Her Face (1995) and The Tempest (2003) or, in contrasting ways, in large orchestral works such as Asyla, Polaris or Totendanz.
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