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Osvaldo Golijov's chamber opera "Ainadamar," which had its premiere at Tanglewood earlier this month, lasts about an hour, but it feels like a surreally extended moment, a long blink of an eye. The libretto, by the playwright David Henry Hwang, places us in a theatre in Uruguay, in the nineteen-sixties, where a venerable actress is about to step onstage for what will turn out to be her last performance. As she waits in the wings, she is overcome by a surge of memories, both happy and harrowing. The character is based on a real figure: Margarita Xirgu, the great Catalan tragedian, who, in the nineteen-twenties and thirties, collaborated with Federico Garcia Lorca on ...