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DEEP SONG.("Ainadamar")(Opera Review)

The New Yorker

| September 01, 2003 | Ross, Alex | COPYRIGHT 2003 All rights reserved. Reproduced by permission of The Condé Nast Publications Inc. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan.  All inquiries regarding rights should be directed to the Gale Group. (Hide copyright information)Copyright

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 ...

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