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Antony and Cleopatra (Adams)

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praised "Adams's practiced naturalism" in setting source text to music, and stated that "the orchestra seethes underneath, delivering brief, explosive outbursts that variously suggest Cleopatra's tantrums, Antony's bouts of self-pity, and the nervous reactions of their underlings. All this
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as "Art Deco elements and slinky gowns ... winking at the glamorous Hollywood adaptations of the Cleopatra story" and a set that "opens and closes like an aperture, with some large structures looming in the back that recall the pyramids.
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has contributed lyrically grainy black-and-white film projections of scenes including a sail on the Nile and a crowd ready to be whipped into frenzy by a dictator."
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instrumental agitation conveys the feeling of characters caught in a rapid-flowing stream that is leading toward certain catastrophe."
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singing, more ongoing narration than operatic musing", but praised the "ever churning, ever changing, ever exploring nuance" of the
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called the opera "the clearest, most dramatically straightforward opera of his career — and the dullest.
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and Lucia Scheckner with text from Shakespeare's play, as well as supplementary passages from
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has the least idiosyncrasy of his nine stage works so far, and the least inspiration."
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wrote that the opera's libretto "on first hearing can sound like an endless flow of
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The European debut performance occurred on 4 November 2023, at the
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The opera is divided into two acts, running 80 and 85 minutes.
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The September 2022 premiere of the work had staging by
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I Was Looking at the Ceiling and Then I Saw the Sky
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Index

Antony and Cleopatra (1966 opera)
John Adams
San Francisco Opera
William Shakespeare
Antony and Cleopatra
libretto
Elkhanah Pulitzer
Plutarch
Virgil
Peter Sellars
Metropolitan Opera
Elkhanah Pulitzer
Zachary Woolfe
Bill Morrison
Gran Teatre del Liceu
Zachary Woolfe
The New York Times
Mark Swed
Los Angeles Times
parlando
orchestration
Alex Ross
"Antony and Cleopatra"



"Review: In John Adams' new Antony and Cleopatra opera, the orchestra is the star"
Los Angeles Times

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