Opera is no longer an experience that is hard to believe in, where the stories and morals can't be taken seriously. For opera is meant to be seen - as well as heard - and the live theatrical side is what gets to the heart of the matter. Deeply radical ideas about women and society and power and love lurk below the surface. But only when modern directors started using the editing style, imagery and metaphor commonplace in the cinema and pop videos did the often hidden agendas of the great composers start to hit home. Opera productions by directores like Peter Brook, David Alden, Peter Sellars, Ruth Berghaus, Richard Jones, Peter Hall, David Pountney and Graham Vick have recently generated immense controversy among cognoscenti. Newcomers, meanwhile, have been thrilled by the theatrical vision which the power of music allows, and excited at the way opera liberates the imagination. This book explains what's been going on and why.
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Tom Sutcliffe's musical career started as a boy chorister at Chichester Cathedral. After studying at Oxford University, he was a professional countertenor for six years, making his opera début in The Coronation of Poppea at Darmstadt in 1970, having worked as a soloist with Nikolaus Harnoncourt. He then edited the magazine Music and Musicians, and worked for the Guardian for 23 years - most notably as opera critic.$$$A regular broadcaster on radio and television, he has also written about opera in Vogue magazine and was British correspondent of Opera News, New York, as well as contributing to Opera Now and other specialist music journals. In 1998 he was dramaturg on a new production of The Turn of the Screw at the Monnaie in Brussels. He became opera critic of the Evening Standard in 1996.
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