Word: librettos
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...work is the fruit of a genuine romance between the opera's composer, longtime Costello keyboardist Steve Nieve, and the writer and psychoanalyst Muriel Teodori, who wrote the Franco-English libretto. First released as a Deutsche Grammophon recording in 2007, the opera recounts the story of Greek immigrant steelworker Dionysos (played by a bearded Sting), who falls in love with an opera diva, much to the consternation of his blue-collar buddies. His stalker-like obsession nearly gets him incarcerated by the police commissioner (a hulking, black-robed Costello), but with a little supernatural intervention by the ghosts of operas...
...whether scared or profane. However, in the ears of critics at the French dailies, the experiment has proved to be less than pitch-perfect. Le Figaro, for example, declared Welcome to the Voice "rock and opera's wedding gone wrong," slipping into "platitudes." Meanwhile, the daily Liberation, criticized the libretto's "naivete...
...wish the world were a different place. I’d like to go on vacation, go and romp and play—just, do that. But I can’t, because I’m busy, preening my CV or illustrating my libretto. And it’s all for you, Fitz. Give me something to work with here, something substantial—none of this “well-rounded” hogwash. Something as knowable and measurable as the $20 bill taped to the inside of this envelope...
...playing on the steps of Memorial Church. Sanders Theater was only half full when Beethoven’s Leonore Overture No. 3, Opus 72a started playing. Opus 72 is known for the many changes it has undergone over time. The piece was originally composed as an opera to a libretto and has been rewritten by its composer four times. It is in the form of Leonore Overture No. 3 that this operatic composition has received its greatest success. The HRO’s performance of the short overture, despite handling the crescendos in an almost too-professional manner, still sounded...
...they - Burton, screenwriter John Logan, the whole cast and crew - they've done it. This adaptation of the Hugh Wheeler libretto (from Christopher Bond's play) is both faithful and liberating. The story, of a bitter man in 19th century London who has lost his wife and child and determines to carve out his revenge, has never seemed so human or so bleak. It's no longer just a Guignol songfest, staring at its creatures, with fascination but not pity, from an Olympian distance above the cage in which they claw at one another. Inside this sarcophagus of a play...