Resisting the recognizable
It was Matthew Jocelyn’s libretto, with its disorientingly deconstructive approach to its source text, that gave Brett Dean’s Hamlet its identity.
18 pieces since 2010 — in 10 roles, at 4 companies, most often at Metropolitan Opera.
1 piece as Gertrude — stats above show all coverage for Sarah Connolly.
View allIt was Matthew Jocelyn’s libretto, with its disorientingly deconstructive approach to its source text, that gave Brett Dean’s Hamlet its identity.
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