Musically, though, the performance under Rattle is superb. From the opening toccata played on car horns which parodies the canzona from Monteverdi's Orfeo, to the radiant passacaglia that supports the final scene, everything in Ligeti's score is heard more vividly than it could ever be in an opera house, and the playing of the LSO is astoundingly good. So, too, are most of the solo performances - from Pavlo Hunka's lugubrious Nekrotzar and Peter Hoare's drink-sodden Piet the Pot, Frode Olsen and Heidi Melton as Astradamors and Mescalina the couple whose relationship is conducted entirely in S&M terms, to Ronnita Miller and Elizabeth Watts as the young lovers.
尽管如此,音乐上,在拉特尔指导下的演出表现得非常好。从打开的汽车音响里播放的来自蒙特威尔第·奥菲欧的托卡塔曲小调(一种快节奏的钢琴曲)到支持最终情节的光芒四射的帕萨卡里亚曲,任何事物在利盖蒂的配乐下听起来显得比任何一家歌剧院更加生动,伦敦交响乐团的演出令人惊讶的棒。包括像大部分的单独表演--从巴布洛夫·守财奴的悲哀的莱克扎和彼得·霍尔的因酗酒而变得痴呆的皮尔特和波特,弗罗德·奥尔森和海蒂·梅尔顿作为一对在S&M期完全形成情侣关系的情侣亚斯兰大莫和莫斯卡里亚到作为年轻小情侣的洛丽塔·米勒和伊丽莎白·瓦特这样的这些单独演出。