The tapestry of life would be that bit less rich without such delightfully loony divertissements as Claudia Molitor’s Remember Me: A Desk Opera. The title says it all — almost. This really is a one-woman-and-her-desk show, but the “remember me” bit signifies that it has big, deep aspirations.
“Remember me” is what Dido repeatedly cries at the end of her great lament in Purcell’s Dido and Aeneas. Molitor’s spoken text envisages the Carthaginian queen getting together with Eurydice, another blameless woman given rather a bad time in opera. Together they decide to “rewrite, retell and refocus the narratives they’ve found themselves