One of the troubles with opera is that since creating and putting one on involves so many people many composers write as if for eternity, or at least for a sizeable segment of it. It’s been a great boon in recent years that some companies, notably Tête-à-Tête, have encouraged the creation and production of operas-in-progress and of short pieces which enable composers and librettists, and the mainly young performers they recruit, to find out what they might be good at.
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