Per Nørgård's music sounds like sonified math, an algebraic equation unfurling across time and mingling with Reichian phase shifting and drum patterns.
During the opening night of Anna Nicole at BAM, I found myself experiencing a case of déjà vu. New York City Opera was electrifying the Howard Gilman Opera House with a work by a living composer featuring the salacious story of a female protagonist whose life was splashed across tabloids, and at one point even featuring an act of fellatio with the disjointed music carrying on in the background.
