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The English horn, of course, is no stranger to haunting melodies.
The takeaway from “The Devil’s Treasure” is that everything under consideration in this unique project is somehow beautiful, even when seemingly pained.
At the very least, showing the triumph of reality over inane illusions of perfection doesn’t lead to particularly complex drama; it is sort of like picking off myopic dreamers in a barrel.
Like Thin Lizzy, Minx marries metallic thunder with melodic structures and lyrics worth listening to.
Singer Sara Serpa refracts, bends, suspends, and shifts sounds and syllables, creating a kind of linguistic limbo.
“A photograph is a secret about a secret. The more it tells you, the less you know,” Diane Arbus said. Her biographer notes that observation. Hard as he tries, many secrets remain.
Gil Rose’s team, headed by an incandescent Ellie Dehn as Catherine of Aragon, should help bring this major work back to the world’s opera-house stages.
This “Mattress” is all about Sutton Foster. And that’s a good thing.
Off the Grid’s The Weird is content to cast a low wattage spell.
Now in his mid-50s, Esa-Pekka Salonen is one of the most interesting and important composers of his generation and the recent attention his music is receiving is well deserved.
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