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Gavin Higgins and Francesca Simon, The Monstrous Child, London, Royal Opera House, Linbury Theatre, 21 February–3 March 2019

Published online by Cambridge University Press:  12 September 2019

George K. Haggett
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Extract

Melting blocks of ice drip from the ceiling. Sounds of wind, rain, and shrieking howls accompanied by rasping trombone pedal tones and wailing clarinet glissandi build to a cacophony of death-noises. ‘Oh, enough local colour’, retorts Hel.

Type
FIRST PERFORMANCES
Information
Tempo , Volume 73 , Issue 290 , October 2019 , pp. 76 - 78
Copyright
Copyright © Cambridge University Press 2019 

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References

1 Simon, Francesca, The Monstrous Child (London: Faber & Faber, 2016)Google Scholar.

2 For discussions of bargaining in Norse mythology, see Wanner, Kevin J., ‘Cunning Intelligence in Norse Myth: Loki, Óðinn, and the Limits of Sovereignty’, History of Religions 48/3 (2009), pp. 211–46CrossRefGoogle Scholar and Linda, and Hutcheon, Michael, ‘“Alles was ist, endet”: Living with the Knowledge of Death in Richard Wagner's Der Ring des Nibelungen’, University of Toronto Quarterly 67 (1998), pp. 789–811Google Scholar.

3 Mark Berry, ‘Gavin Higgins’ The Monstrous Child: an ROH world premiere’, Opera Today, 27 February 2019, www.operatoday.com/content/2019/02/gavin_higgins_t.php.

4 Holloway, Amanda, ‘Making it Monstrous’, in Programme: The Monstrous Child (London: Royal Opera House, 2019), p. 34Google Scholar.

5 Holloway, ‘Making it Monstrous’, 34.