Skip to main content
×
×
Home

Thomas Adès, The Exterminating Angel, Haus für Mozart, Salzburg

Extract

The Salzburg Festival publicity office knew that it had a major musical event on its hands. Before the premiere of Thomas Adès's The Exterminating Angel on 28 July 2016, they held a reception for the world's press on a rooftop balcony overlooking the old town (which, in the name of investigative journalism, your intrepid TEMPO correspondent attended). The procession from such genteel surroundings and through the bustling Hofstallgasse into the auditorium, in which bells were already chiming in the orchestral pit and sheep were standing patiently on stage, enacted one of the central themes of the opera: that of the passage from bourgeois respectability (and, let's be frank, privilege) into a world that is less predictable, less explicable.

Copyright
References
Hide All

1 Fiona Maddocks, ‘A Turning Point for Adès, and Opera’, The Observer, 31 July 2016.

2 Judith Belfkih, ‘Gefangene der Freiheit’, Wiener Zeitung, 29 July 2016.

3 See Adès's numerous comments on opera in Adès Thomas and Service Tom, Thomas Adès: Full of Noises (New York: Farrar, Straus and Giroux, 2012).

Recommend this journal

Email your librarian or administrator to recommend adding this journal to your organisation's collection.

Tempo
  • ISSN: 0040-2982
  • EISSN: 1478-2286
  • URL: /core/journals/tempo
Please enter your name
Please enter a valid email address
Who would you like to send this to? *
×

Metrics

Full text views

Total number of HTML views: 3
Total number of PDF views: 31 *
Loading metrics...

Abstract views

Total abstract views: 90 *
Loading metrics...

* Views captured on Cambridge Core between 3rd March 2017 - 23rd January 2018. This data will be updated every 24 hours.