00:00The beginning of the opera, we have an actual horse first galloping and then the gallop becomes
00:05a flamenco rhythm and then the percussion takes over. So it's like all these surreal symbols
00:12melding into each other. The other thing about Osvaldo is he really liked kind of passion and
00:22blood and, you know, so I tried to write a libretto which was quite fiery in that way.
00:28It's really important to bring the idea of the street. It's not a clean opera with clean voices.
00:36It's like dogs singing with angry, with passion, with intensity. It's not clean. And we need to find
00:49a set of costumes that bring this idea that it's a little dirty. It's real.
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