New Zealand Opera’s general director Thomas de Mallet Burgess waxes lyrical on his upcoming productions The Human Voice and Eight Songs for a Mad King, and the future of opera. What can you tell us about the creative setting of The Human Voice? The Human Voice takes place in a hotel room, and the audience are brought into close proximity with the character, who is undergoing a profoundly emotional rollercoaster of a journey: a separation with her ex-partner. As the audience listens to that conversation, they’ll realise that she’s lying, and the ex-partner is lying. The audience are stuck in the middle trying to deduce the situation, and they’re so close they viscerally experience the unfolding emotion. The significance of the hotel room becomes clear over the course of the opera. Particularly what a lonely place a hotel room can be. These elements knead together in the performance. Using these alternative...
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Thomas de Mallet Burgess
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Thomas de Mallet Burgess