This opera based on Chekhov by composer/conductor Peter
	  Eötvös is perverse in many ways. The three sisters are all
	  counter tenors, in an all-male cast, that for no reason I can comprehend
	  or have seen adequately explained. A production photo shows that the first
	  production by Ushio Amagatsu, was in Japanese guise, so there is an obvious
	  link with Kabuki tradition.
	   It may likely all have been much clearer in the theatre, without
	  an additional struggle to identify the characters. Natasha is another
	  counter-tenor (a field day for their employment!) and the old nurse Anfisa,
	  a bass. None of that makes for easy listening.
It may likely all have been much clearer in the theatre, without
	  an additional struggle to identify the characters. Natasha is another
	  counter-tenor (a field day for their employment!) and the old nurse Anfisa,
	  a bass. None of that makes for easy listening.
	  
	  Nor does the libretto, by Claus Henneberg and the composer. Sections of the
	  plot are dissected and reconstituted three times, in a Birtwistlian manner.
	  Unless you know the original play inside out, you will be hopelessly lost
	  much of the time. The music is for long stretches slow, indeed static. There
	  are two orchestras, a chamber orchestra of individual instruments associated
	  with particular characters, and a larger main orchestra placed behind the
	  stage.
	  
	  Despite all the foregoing, some of the music is arresting and afterwards
	  haunting, and for those not completely put off, worth the effort. Importantly,
	  The Three Sisters has achieved considerable international success, with
	  productions scheduled this year and last in Holland, Germany and Hungary,
	  with female singers in the latter.
	  
	  This lavishly produced recording is of the premiere in Lyon. The recording,
	  made in the theatre, is good and well documented. There are additional tracks
	  of listening guides by the composer. The names of the singers were not known
	  to me and are not
	   reproduced above. This is one to try to sample before purchase.
reproduced above. This is one to try to sample before purchase.
	  
	  Of Peter Eötvös's earlier music, his Chinese Opera for stereo
	  orchestra, intended for theatrical and cinematographical presentation, has
	  long been a favourite in my CD collection [Erato ECD 75554] and there is
	  an enthusiastic review of his recent
	  zero points in
	  S&H, February 2000. 
	  
	  Reviewer
	  
	  Peter Grahame Woolf
	  
	  