Luke Styles' all-male Macbeth for Glyndebourne, with a libretto lifted straight from Shakespeare by Ted Huffman, explores the bloody tragedy afresh – with a defiantly cool ending.
The current state of contemporary classical composition is a bit muddled. There are a wide variety of styles and approaches out there, and no consensus on where the cutting edge is to be found. Ensembles dedicated to performing new music must find a way to make sense of it all.
