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.


  1. “Are maestros known as womanizers?” Wow,there aren’t that many that know where to start with a woman, never mind reaching the level of a womanizer! Hey BTW, my computer made me spell womaniser with a Z; can’t we get over the “got to seperate ourselves from Mother Britannia” thing? I have trouble with all those ise-ize words.

  2. Oh, I do like that last quote. And the first. 🙂