Anna Nicole – seriously, now

Fiona Maddocks in the Observer is the first critic to place Anna Nicole in its musical context, assessing it both in terms of Mark-Anthony Turnage’s previous two operas, Greek and The Silver Tassie, and with reference to its musical influences, detecting echoes of Puccini’s Gianni Schicci and, undetected by me, Mahler’s Death of Children Songs.

How did I miss that? Must have been distracted by a boob overload.
Mind you, I did see Fiona leaving the opera house with a score the size of Luxembourg tucked beneath her resourceful arm.
If you only read one review of Anna Nicole, hers is your reference point. 

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