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Hardcore existentialist Obegon has rejected all conventions in his quest for truth; and with this radical form of opera which claims to present text and music independently of one another, composer Simon O'Connor and libretto writer Simon Doyle seem to strive towards a similar ideal of freedom - an ideal impressive in theory but unattainable in practice. Alternating between the panic of sound and the poignancy of silence, O'Connor's excellent score is sensitive rather than sycophantic to the libretto, while, despite the sparse stage setting, the three performers of the libretto become more than just voices, installing themselves as real dramatic presences.

Performances on October 12th and 14th at 10.p.m.