If it wasn’t for comedy and madness, would opera exist? What is it that could drive people away from speech and towards singing in such a way that would not only be acceptable as a premise but natural? It takes a certain level of absurdity . . .
Galina Ustvolskaya is, in her small and unique way, one of the most mysterious and compelling composers of the 20th century, differentiated even from the likes of Harry Partch, Giacinto Scelsi and Karlheinz Stockhausen. We know little of depth about her life, and what we do know, and possibly could know, offers no insight into(…)