My first introduction to Béla Bartók’s one-act opera Bluebeard’s Castle was the musicologist Susan McClary’s infamous book Feminine Endings. Here, McClary likened her search of a feminist musicology to Judith’s journey through the seven doors; a journey that ends in Judith’s symbolic death.
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Riccardo Muti’s vision of Aida’s score largely emerged as one of subtlety, musicality, and restraint.
