The author added he deliberately chose themes of sex, obsession and adultery because he believed they suited opera.

This talks about a new opera with the libretto by Ian McEwan.

Here’s another quote, from a different article:

The biggest problem with opera, for me, is the disjunction between the sublime quality of the music and the silliness, often, of the drama. When I was thinking about writing this libretto, I was clear that I wanted psychological realism. I also knew what I didn’t want: no supernatural elements, no fairy tales, no folk tales. No Magic Flute.

and, in the same article, there’s this:

Are maestros known as womanisers?

Not particularly, and there is a lot of dramatic convention in this piece. Especially with Charles humiliating, forgiving and seducing a woman, all in one afternoon! That’s beyond the bounds of realism.

Hmmm. I’m not so sure that’s “beyond the bounds of realism”.

Finally … because of course I like this:

It’s certainly extended my admiration for musicians. I like being around them and I like their expertise. At the first full rehearsal, they just sat down and played everything straight off. Together! I love the chaos of the rehearsal room, piled with cases and paper, discarded coats and scarves.