Birtwistle, Harrison: The Corridor (2008) 48'
A scena for soprano, tenor and ensemble
Music Text
Libretto by David Harsent (E)
Scoring
fl.cl-harp-vln.vla.vlc.
Abbreviations (PDF).
Territory
This work is available from Boosey & Hawkes for the world.
For full details on this stagework, including synopsis and roles, please visit our Opera section.
World Premiere
6/12/2009
Britten Studio, Aldeburgh
Peter Gill, dir / Elizabeth Atherton, sop / Mark Padmore, ten / London Sinfonietta / Ryan Wigglesworth
Press Quotes Deutsch
“The Corridor deals with a single moment, when Orpheus, leading Eurydice out of the underworld, turns around to look at her, and so loses her forever. Birtwistle and Harsent explode the moment of that glance into a series of arias that crystallise the characters’ situations and the separateness of their emotional worlds."
The Guardian
"The music of Eurydice grows slower and slower like an unwinding clock as she retreats ever deeper into the “corridor” of Hell, further than ever from the lamenting Orpheus. As a half-speaking narrator, she puts questions to the players who answer in anguished, rhapsodic music, as lyrical as anything Birtwistle has attempted.”
The Observer
“…a movingly lyrical lament for loss of love.”
Sunday Times
News stories for this title :
Birtwistle: The Corridor reviews from premiere tour
Birtwistle's The Corridor on premiere tour
A scena for soprano, tenor and ensemble
Music Text
Libretto by David Harsent (E)
Scoring
fl.cl-harp-vln.vla.vlc.
Abbreviations (PDF).
Territory
This work is available from Boosey & Hawkes for the world.
For full details on this stagework, including synopsis and roles, please visit our Opera section.
World Premiere
6/12/2009
Britten Studio, Aldeburgh
Peter Gill, dir / Elizabeth Atherton, sop / Mark Padmore, ten / London Sinfonietta / Ryan Wigglesworth
Press Quotes Deutsch
“The Corridor deals with a single moment, when Orpheus, leading Eurydice out of the underworld, turns around to look at her, and so loses her forever. Birtwistle and Harsent explode the moment of that glance into a series of arias that crystallise the characters’ situations and the separateness of their emotional worlds."
The Guardian
"The music of Eurydice grows slower and slower like an unwinding clock as she retreats ever deeper into the “corridor” of Hell, further than ever from the lamenting Orpheus. As a half-speaking narrator, she puts questions to the players who answer in anguished, rhapsodic music, as lyrical as anything Birtwistle has attempted.”
The Observer
“…a movingly lyrical lament for loss of love.”
Sunday Times
News stories for this title :
