En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Joshua Jeremiah

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.

Henri Bergson famously defined comedy as “something mechanical encrusted on the living”. One suspects that Jacques Offenbach would have been a fan of this definition, and that Christopher Alden most certainly is.