Irreverent satire of Biblical films and religious intolerance focuses on Brian, a Jew in Roman-occupied Judea. After joining up with an anti-Roman political organization, Brian is mistaken for a prophet, and becomes a reluctant Messiah.

Grant Willard sponsors drivers in a "new" form of race car driving called The Figure Eight. The rise and fall of one such driver is the whole story behind PIT STOP.

The eccentric professor Collins lives completely secluded in his chaotic apartment. When the model Penny moves in next to him, he becomes fascinated of her. He drills holes in her walls and ceiling and peeps on her day and night. He loses himself in daydreams and delusions.

Rosenberg's musical language in this dreamplay of reaching out for the unattainable is tugged between the poles of Sibelian cool and warm Gallic impressionism. As an opera this is not another Pelléas. It is far too mercurial and word-responsive for that. If anything it has subject connections with other operas: Korngold’s Die Kathrin (CPO) and Schreker’s Die Ferne Klang (Naxos and Capriccio). It occupies a surreal littoral between Puccinian verismo and modernistic objectivity; neither one nor the other……Most warmly recommended.

Rob Barnett @ Musicweb-international.com

A massive shark attacks another shark which is equally or even more massive and they fight. That is all.