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Opera

The Cure & The Corridor, Royal Opera House

18 Jun 15 – 27 Jun 15, 7:45 PM – 10:15 PM

Composer Harrison Birtwistle unleashes a double bill of cathartic chamber operas, based on scenes from classical myth.

By CW Contributor on 2/3/2015

The Cure & The Corridor, Royal Opera House
The Cure & The Corridor, Royal Opera House
The Cure & The Corridor, Royal Opera House The Cure & The Corridor, Royal Opera House Joe Lloyd
Sir Harrison Birtwistle may have turned eighty last year, but he shows little sign of slowing down. The composer, whose hugely complex but always distinctive brand of music has attracted scandal and even protest in the past, returns to Covent Garden’s Linbury Studio Theatre for a double-bill of chamber operas.
As with much of his work, both are based on classical mythology. The Corridor, first performed at 2009’s Aldeburgh Festival, takes as it subject the tragic meeting of Orpheus and Eurydice in the underworld, while The Cure – newly co-commissioned by the Royal Opera – follows a section of Ovid’s Metamorphosis in which Medea violently grants Jason’s father a new life. These two scenes, possessed of a gripping dramatic intensity, seem to offer Birtwistle a fitting canvas on which to paint in his typically bold colours. T.S. Eliot prize-winning poet David Harsent, who also collaborated with Birtwistle on The Minotaur, wrote both librettos.
Birtwistle’s music, which initially drew inspiration from Stravinsky and Messiaen, can be terrifying in its brute ferocity. Often fixated on a single musical idea that is then transformed and set against other phrases, it can become mesmeric. Visitors to Linbury should expect a spirited, emotionally potent experience. 

What The Cure & The Corridor, Royal Opera House
Where Royal Opera House, Bow Street, Covent Garden, London, WC2E 9DD | MAP
Nearest tube Covent Garden (underground)
When 18 Jun 15 – 27 Jun 15, 7:45 PM – 10:15 PM
Price £TBC
Website Click here to book via the Royal Opera House



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  • What the critics say

    THE GUARDIAN

    "It's a pared-down, austere piece, a meditation around rather than a depiction of that moment, and delivered with beauty and poise."

    Andrew Clements

    THE NEW YORK TIMES

    "Its style changes constantly: the vocal writing is often angular and tense, occasionally lyrical and sometimes spoken, and the instrumental scoring — for violin, viola, cello, flute, clarinet and harp — mirrors, punctuates and comments on it."

    Allan Kozinn

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