The chorus of ‘The Portrait of Dorian Gray’ wins the day. It articulates just the right level of shrieking witch howls to keep the work ticking over and yet off-key. The texture of their presence evokes the disparity created by Polish composer Krzysztof Penderecki in his avant-garde contemplations of horror.
A TALE OF politics and love, betrayal and death, Verdi’s opera Aïda, composed in 1870, is arguably one of the opera genre’s most known works. Indeed, it’s probably the repository for the most famous ensembles, tunes that you can whistle on your way to the theatre in […]
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