![]() And despite the work’s highly economical running time (just over two hours including an intermission) it manages to be a probing anatomy of obsessive love, a meditation on the complex nature of marriage, a fierce study of the dual faces of fame, and a haunted and haunting meditation on the power of memory and how an enduring passion can be a great source of artistic inspiration. The opera’s ravishing, quasi-cinematic score by Daniel Catan (the Mexican composer of Sephardic Jewish heritage who died in 2011, and whose earlier opera, “Rappaccini’s Daughter,” received a stunning virtual production last spring by Chicago Opera Theater), is matched by its beautiful libretto by Marcela Fuentes-Berain who openly acknowledges that she was inspired by Garcia Marquez’s writings.
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