Without using electronic instruments, Mr. Muhly has created a world immersed in technology; his sound palette is Britten, not “Tron.” There are softly chiming gongs and ethereal winds, lyrical and sinuous strings and sympathetic, Romantic orchestral surges. The second act starts with an eerie, suspended calm punctured by string flourishes that develop into something almost folksy. There are foreboding minor-key arpeggios throughout, but Mr. Muhly ventures far beyond stock Minimalism. He even creates a new setting for part of the Anglican service; the sound of church music, dense yet floating, permeates the opera.
Indeed, the choral writing is the work’s most successful element.
You can read Zachary Woolfe's entire review in the NY Times HERE.
Contact us at Barihunks@gmail.com