Prom 43: Endgame review – music brings compassion to Beckett’s austere drama | Classical music
Michael Billington, writing about Endgame in these pages a while ago, once used the phrase “the terrible music of Beckett’s prose” to describe the bitter beauty of the play’s language. In György Kurtág’s opera, the words retain their fierce, lacerating power, though the music extends a deep and ambivalent compassion to Beckett’s characters even as their rebarbative sparring masks fears of decline, isolation, endings and loss. This is not, in […]
