To take them in ascending order of preference: Bill Bryden provides an uninteresting “wraparound” using Leoncavallo that links the various segments Nicolas Roeg’s use of Verdi in depicting a plot to assassinate King Zog of Albania in Vienna in 1931 (with Theresa Russell as Zog) is disappointingly pointless, and Bruce Beresford’s matching of a “love duet” and Korngold seems equally thin. The results are decidedly mixed, but the best segments are worth waiting for.
The idea must have seemed like a natural to producer Don Boyd: invite ten filmmakers to select an operatic aria and make a short film interpreting the music independent of the opera’s original story line. Get your UnGala tickets: A museum takeover and art party on Novemcelebrating the Reader's 50ish anniversary Close
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