logo
In a Passionate Composer's First Opera, Sex Flirts With Death

In a Passionate Composer's First Opera, Sex Flirts With Death

New York Times19-06-2025
Toward the end of 'Lash,' a new opera by Rebecca Saunders, a vocal quartet of invites the listener to 'come to bed and die.'
Saunders, 57, is a masterly composer whose recent music is becoming more passionate, expressive and lyrical than ever. An artist whose works are regularly performed throughout Europe, she has won many prizes, including the Golden Lion for Lifetime Achievement at last year's Venice Music Biennale. Her subtle music has an unmistakable momentum.
The text of the opera is by Ed Atkins, an artist and writer who often uses hyper-realistic C.G.I. video to unsettling effect. A critically acclaimed, career-spanning exhibition of his work is currently on show at Tate Britain in London, and his 'Old Food,' which featured sandwiches filled with uncannily modified bodies, was shown at the 2019 Venice Art Biennale. Like his video work, Atkins's prose is obsessed with the strangeness of sex and death.
On Friday, 'Lash' will premiere at the Deutsche Oper Berlin. It is Saunders's first opera and Atkins's first libretto. Though Saunders wrote a piece based on words by Atkins, 'Us Dead Talk Love,' in 2021, 'Lash' is the first time the artists have shaped a piece together from the beginning.
That relationship allowed Saunders to finally take on an opera. 'I didn't want to give a piece to somebody and just let go,' Saunders said. 'I wanted to find the author and the directors and the house who would enable us to work on a collaborative project.'
Want all of The Times? Subscribe.
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

The Twisted Tale of Amanda Knox on Disney+ review: twists itself in knots
The Twisted Tale of Amanda Knox on Disney+ review: twists itself in knots

Yahoo

time4 minutes ago

  • Yahoo

The Twisted Tale of Amanda Knox on Disney+ review: twists itself in knots

'Story is a powerful thing,' intones the voiceover during an episode of The Twisted Tale of Amanda Knox, a new TV miniseries produced by Amanda Knox herself alongside Monica Lewinsky. Who has the power to tell their story – or others' – is the issue at stake. Knox has described Lewinsky as her comrade in their 'sisterhood of ill repute'; this eight-part show on Hulu (streaming on Disney+ in the UK) is their attempt to set the record straight over what exactly happened almost two decades ago. But when the story has become so tangled in its retellings, can anything unpick it? Knox, 37, was wrongly convicted of murdering her British roommate Meredith Kercher in 2007, along with her boyfriend of just a week, Raffaele Sollecito. Excoriated in the British press as the she-devil Foxy Knoxy, she spent eight years on trial and four in prison. Two memoirs and a Netflix documentary later, she's still attempting to clear up the smear campaign against her. Is a TV show up to that mammoth task? Doubtful, but you can empathise with Knox here. Hollywood has already had so many bites of her apple – the pulpy Amanda Knox: Murder on Trial in Italy in 2011, then Matt Damon's Stillwater (2021), which Knox claims fictionalised her experience without her consent. Everyone's told her story on screen except her, until now. Grace Van Patten is fantastic as Knox, capturing not just her mannerisms but her unfortunate blend of brash Americanism and kookiness that gave the police and the press so much room to twist the knife. Each episode requires multiple emotional nadirs, yet you feel the fear, the distress, the choking grief with every micro expression. It's an all the more impressive performance given Van Patten came to the table late in production, after Margaret Qualley bowed out in 2024 due to scheduling conflicts. The whole cast is rock solid but too often the narrative eats the plot. Kercher's killer, Rudy Guede, is only alluded to in the second episode and doesn't appear until the fourth. By immersing the viewer in the confusion of the case as it unfolded in real time, those unfamiliar with the facts may lose their way. It should have been cut and dried. Guede was a drifter with a history of armed burglary and violence against women, who had previously been invited into the downstairs neighbour's home. His fingerprints and DNA alone were all over the crime scene. The jaw-dropping mishandling of the case feels like an exaggeration on screen. The phone tapping, physical assault during interrogation, a faked HIV test to weasel a list of sexual partners out of Knox. Sometimes the truth is so much stranger than fiction it is hard to comprehend. Blink and you miss the cross-contamination between evidence items alluded to in a quick panning shot. Kercher's role is handled sensitively – we never see her dead, only vibrant with life – but the show lingers over Knox's discovery of the crime scene, rather than the tragedy of a young woman losing her life. Understandably, Kercher's family were against this show ever being made. I doubt they will see this portrayal as anything more than another self-centred episode from Knox. Twisted Tale also extends more grace than it should to Giuliano Mignini (Francesco Acquaroli), Knox's prosecutor, who came up with the sordid and deranged theories about sex games gone wrong based off little more than a vibrator and Catholic guilt. Yes, Mignini felt persecuted by the public humiliation he experienced over his theories on the Monster of Florence case. The man sees satanic sex and death cults everywhere – that's far weirder than anything Knox said or did. I found Knox's memoir of her choice to make peace with Mignini incredibly moving. This show just re-ignited my petty loathing for him. Twisted Tale takes some interesting creative swings that brings Knox's oddball personality to life. Travel leaflets come to life with animations beckoning her to Europe. Subtitles for rapid-fire Italian fall away when she becomes confused during an intense legal meeting. A jury member pops his own ears clean off his as the bizarre trial set-up is explained via voiceover. Knox and Sollecito (Giuseppe De Domenico) were tried at the same time as Patrick Lumumba's case against Knox for her false confession – made under extreme duress – that implicated him in the crime. More of this zany energy would have been welcome, instead of the noir-ish police rooms where no one seems to have been able to locate the overhead light switch. The Italian investigators are cartoonishly evil, brooding in shadows as they come up with obviously stupid theories. But then again, the British media did swallow those lies whole. Tabloid hacks get off lightly in comparison, as brainless bottom feeders dashing off salacious copy on the hoof. For true accuracy, there should have been some cuts back to newsrooms where top editors salivated over slut-shaming front pages. Ultimately, Twisted Tale never seems quite sure of its audience. Americans will enjoy its hero's journey and cliffhanger true crime drama moments, but may falter at the hurdle of subtitles. Italians will baulk at the way their countrymen are portrayed, despite so much of it happening in their language. Brits will shudder at the melodrama of it all. A different edit would have made this show excellent. As it is, it gets tangled trying to escape the morass of all that's already been said about Knox. Even if the story has been told by the person who lived it, there will be plenty who refuse to see it as the definitive edition. The Twisted Tale of Amanda Knox is streaming on Disney+ in the UK and Ireland

The Federico Chiesa chant and the fallout. Plus: Rangers chaos and panic rankings
The Federico Chiesa chant and the fallout. Plus: Rangers chaos and panic rankings

New York Times

time7 minutes ago

  • New York Times

The Federico Chiesa chant and the fallout. Plus: Rangers chaos and panic rankings

The Athletic FC ⚽ is The Athletic's daily football (or soccer, if you prefer) newsletter. Sign up to receive it directly to your inbox. Hello! Terrace chants are part of football's soul. But how do you know if they're crossing a line? And who decides? On the way: 🗣️ Liverpool's Chiesa song 💰 Another transfer record? ⚽ Crimes against multiball 💪 The secrets of Salah's abs The average football chant passes without much comment but from time to time, terrace songs ignite a legitimate debate over decency. I saw it with Leeds United and a song about Willy Gnonto, their Italian winger. Gnonto is black and the words of the song referred to his genitalia. Some thought this was funny. Others regarded it as a racist trope. I fell into the second group. Advertisement Simon Hughes is seeing it now with Liverpool and Federico Chiesa, albeit over a completely different subject. He wrote about it yesterday and the massive response to his column, both on The Athletic website and Simon's social media accounts, convinced us to devote some time to it in TAFC. Chiesa joined Liverpool from Juventus last year, the sole signing added to Arne Slot's squad in his first summer as head coach. He had been frozen out in Turin and Anfield has been a slow burn for him. The 27-year-old got a rare moment in the sun last Friday when his late goal set up a Premier League victory against Bournemouth. If you were watching, you might have heard the chant in question (sung to the tune of Dean Martin's Sway): 'We can hear them crying in Turin, Federico, he's here to win. One chat with Arne Slot and he said 'ciao', F*** off Juve, I'm a Kopite now…' One profanity aside, you'd write it off as gentle stuff — until you consider the history between Liverpool and Turin-based Juventus, and a stadium disaster that occurred 40 years ago. It's that context that has left Simon feeling uncomfortable and questioning the tone of the song. Liverpool and Juve met in the 1985 European Cup final at Heysel Stadium in the Belgian city of Brussels. Thirty-nine people, most of them Juve fans, died after a wall collapsed and crushed them. The ground was in poor repair but a factor in the tragedy was a group of Liverpool fans charging towards rival supporters amid scenes of violence. The Chiesa chant was not about Heysel, of course. To suggest a deliberate correlation would be wrong. But the point Simon makes is that 'crying in Turin' and the aggression in 'F*** off Juve' could be regarded as crass or insensitive in Italy, given the events of Heysel. With good reason, Liverpool have long railed against tasteless chants about the 1989 Hillsborough disaster, which cost the lives of 97 of their fans. Advertisement 'It would not take much to amend 'f*** off' with something such as 'later, Juve', or even 'arrivederci',' Simon wrote. 'I'm sure there's someone out there with a more creative mind than me who can play with the bit about 'crying in Turin'. It would be a small gesture but one that would go a long way.' The responses to his column were hugely divided, between those who agreed and those who felt their fun was being spoiled. You can read the many comments (more than 600 of them) and if you do, you'll share one of my conclusions: that the propriety of a chant often depends on who it is you're talking to. Power rankings — that moving gauge of who's hot and who's not — are part of the bread and butter of sports writing. Tim Spiers has given the concept a welcome twist by turning them into 'panic rankings' this morning. He went back over the first weekend of Premier League games and figured out who, among the 20 clubs, is most likely to be losing control of their bowels. His answer? Everton — and having watched the men in blue in the flesh on Monday night, I'd be worrying about them too. West Ham United (second in Tim's league of woe) were equally abysmal but I was caught out by Brentford sitting seventh, behind Chelsea and Crystal Palace. Brentford have taken an almighty punt on Keith Andrews (above) as head coach but as they fell apart at Nottingham Forest on Sunday, you could be forgiven for asking how long it would be before they were questioning their own wisdom. Let's see. Here's an unusual Premier League offence: crimes against multiball. And don't laugh, because Aston Villa falling foul of the rules has just cost them £125,000. The story broke late last week but I wanted to row back to it because it's a novel disciplinary case and I didn't realise that in breaching multiball regulations, Villa are serial offenders. Advertisement Multiball is a system whereby teams position numerous balls around their pitch, rather than using the same one for the entire 90 minutes of a match. It's supposed to speed up the flow of play. Naturally, you can't just do as you please. The balls have to be evenly spread and positioned on cones. And ball assistants (formerly known as ball boys) aren't allowed to help outfield players retrieve them. Villa contravened these restrictions last season, time and time again. The upshot is a six-figure fine and a ban on using multiball in their first three home matches of the new Premier League campaign. Mind how you go. (Kick-offs 3pm ET/8pm UK time) UEFA Champions League qualifying play-offs: Celtic vs Kairat — Paramount+, ViX/TNT Sports; Fenerbahce vs Benfica — CBS, Paramount+, Amazon Prime/TNT Sports. Rangers and Russell Martin… it's not going well. They're already four points behind Celtic in the Scottish Premiership's perennial two-horse race, and a 3-1 defeat against Belgium's Club Brugge at Ibrox last night means their hopes of Champions League qualification are on thin ice. Defend like they did for Club Brugge's opening goal, above, and you really have got it coming. A disastrous start for Rangers 😫 A huge mix-up between the back line, gives Romeo Vermant a chance and he takes full advantage finishing brilliantly 💥 📺 @tntsports & @discoveryplusUK — Football on TNT Sports (@footballontnt) August 19, 2025 Spot the pattern. Connect the terms Find the hidden link between sports terms Play today's puzzle

Watch: Kylian Mbappé debuts new celebration after Real Madrid winner vs Osasuna
Watch: Kylian Mbappé debuts new celebration after Real Madrid winner vs Osasuna

Yahoo

time34 minutes ago

  • Yahoo

Watch: Kylian Mbappé debuts new celebration after Real Madrid winner vs Osasuna

Real Madrid star Kylian Mbappé unveiled a new goal celebration, in the aftermath of notching the decisive goal in his side's meeting with Osasuna. Real are of course fresh off kicking the club's 2025/26 campaign into gear on Tuesday evening. Afforded a delayed start to the campaign owing to their efforts at the Club World Cup this summer, Los Blancos welcomed the aforementioned Osasuna to Spain's capital for a La Liga clash. And when all was said and done, it was the aforementioned Kylian Mbappé who proved himself the game's decisive figure. After winning a 2nd-half penalty for his side, the Frenchman dusted himself down, before converting the only goal of the game from 12 yards. And as alluded to above, in the aftermath of as much, Mbappé showed off a trademark new celebration. Taking his place in front of the TV cameras at the Santiago Bernabéu, the 26-year-old created the motion of wiping tears away from his eyes. Check out footage of the celebration below: Conor Laird – GSFN

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store