English composer Philip Venables makes his Royal Opera debut with this adaptation of Sarah Kaneâ€™s powerful final work, the first time the work of this radical British playwright has been set to music.
Venables explains how â€˜I chose 4.48 Psychosis because it feels like a really musical text. Of all Kaneâ€™s plays it feels like the one where sheâ€™s written some music on the page. Thereâ€™s an amazing contrast of styles of text in the piece, which has been a dream to work with: it just lends itself so well to musical formsâ€™.
No recording of 4.48 Psychosis was available at the time of recording, so excerpts of other works by Venables are used in the interview:
Klaviertrio im Geiste (0:35 and 2:10)
The Revenge of Miguel Cotto (3:08)
numbers 76â€“80 : tristan und isolde (3:53)
numbers 91â€“95 (4:31)
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