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Scottish Opera


There has to be an imperative for translating film into opera. It happens often enough. Take Olga Neuwirth’s Lost Highway or Thomas Adès’s The Exterminating Angel or Nico Muhly’s Marnie. When the idea of reworking Lars von Trier’s Breaking the Waves (1996) first arose, the American composer Missy Mazzoli said “absolutely not”. Anyone who has …