In the red fire of passion

In this work, I’ve attempted to create a Richard Strauss-esque mad scene for such a small ensemble. 

In doing so, the musical material is quite disjointed, dramatic and extreme, and so requires a dramatic bravado from the trio to create diverse and musical extremes.

The soprano is often required to sing freely in her own time. In these sections the soprano should aim to be as seductive and coquettish as possible, using the text to entice and seduce the audience into her madness. 

Any sections marked with repeat lines and an arrow are to be repeated in the performer's own time, generally independent of the other lines unless marked. Generally, each gesture should have a slight breath between each repartition.