'… the nature of Beard's focus enables him consistently to provide fresh, alternative insights that complement and enhance the existing literature … [He] provides the reader with valuable, fascinating insights into Birtwistle's compositional workshop … [and] draws on an impressive range of technical and conceptual tools alongside a keen eye for musical details that open up new interpretative vistas. This is a serious, committed volume that makes a significant contribution to Birtwistle scholarship, and should be essential reading for anyone interested in stage music of the late twentieth century.' Edward Venn, Tempo
1. The roots of Birtwistle's theatrical expression: from Pantomime to Down by the Greenwood Side; 2. Punch and Judy: parody, allusion, and the grotesque; 3. The Mask of Orpheus: 'lyrical formalism', time and narrative; 4. Yan Tan Tethera: pastoral labyrinths and the scene-agent ratio; 5. The shadow of opera: dramatic narrative and musical discourse in Gawain; 6. 'A face like music': shaping images into sound in The Second Mrs Kong; 7. Corporeal music: Bow Down, The Io Passion and The Corridor; 8. The Last Supper and The Minotaur: eyes 'half filled and half deserted'; Bibliography.