I had just experienced a faultless dress rehearsal before the premiere in Copenhagen of British composer, Dani Howard’s opera, The Yellow Wallpaper, based on the increasingly “du jour” 1892 American feminist novella by Charlotte Perkins Gilman. The work is produced by The Opera Story, a London based company, in collaboration with Copenhagen Opera Festival.

Backstage at the trendy Aveny-T theatre, in conversation with director Amy Lane, I asked if such a minimalist work – one mezzo-soprano singer, a dancer, a pianist and a cellist, was a challenge to stage. With an expression of benevolent tolerance Lane introduced me to her world, confiding state secrets. She opened her working score. I felt I had become an insider. Sarastro had admitted me to his/her secret order.