I recently wrote two articles which complement each other – imagine it as a diptych of sorts – on a contemporary opera, Kepler’s Trial:
- the first is a review, for Seen And Heard International, of the work by composer Tim Watts (Cambridge and Royal College of Music)
- the second focuses on the unusual inter-disciplinary effort behind the opera. The article, for Talking Humanities*, consists of an interview with Prof. Ulinka Rublack (Cambridge).
*curated by the School of Advanced Study, the UK’s national centre for the support and promotion of the humanities
Why write two articles about it? Because the Kepler’s Trial project is and does so much of what I think contemporary opera is capable of being and doing. It delves into the past to engage with the present.
For the review of Kepler’s Trial on Seen And Heard International, click here.
For the article in Talking Humanities on the unusual process behind the opera, click here.
Image credits:
Statue by Jakob Wilhelm Fehrle dedicated to Katharina Kepler in Eltingen (Leonberg, Germany). Reproduced under GNU Free Documentation licence.
Portrait of Johannes Kepler. Reproduced under Public Domain licence.
Image from Seen and Heard International website.
Image from Talking Humanities website.
Valeria Vescina 
