30 Oct 2005
Barbarians as a compelling chorus
Raphaela Papadakis seems to like ‘playing with fire’. After her acclaimed performance as the put-upon maid, Anna, in Independent Opera’s production of Šimon Voseček’s Beidermann and the Arsonists at Sadler’s Wells last year, she is currently rehearsing for the premiere this week of And London Burned, a new opera by Matt Rogers which has been commissioned by Temple Music Foundation to commemorate the 350th anniversary of The Great Fire of London.
[Sydney Morning Herald, 31 October 2005]
Philip Glass's latest work is presented as a powerful morality play, writes John Carmody.
J.M. Coetzee's novel Waiting for the Barbarians is a literary masterpiece, multi-layered, rich in metaphor, allusive yet fierce in its ethical concerns.
But because of that very delicacy in its texture and, in particular, the importance for its artistic structure of the troubled dreaming of its central character, the narrating Magistrate, I was sceptical whether the librettist Christopher Hampton and the composer Philip Glass could really transform it into an opera, despite their enormous theatrical experience.