John le Carré is a British icon. Obituaries following his death lauded his success in raising “the spy novel to a new level of seriousness and respect” and his ability to reach beyond the glamour of Bond-like espionage to the “seedy” realities.
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Gaslighting is the word of the moment and Donizetti’s Lucia is full of it.
The Met took a risk putting on an opera by a man with no track record in the medium. It paid off.
The colourful and permanently frenetic performance was completely at odds with the intense gravitas of the subject.
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