After-comment to a recent post on Peter Maxwell Davies:
“When Max dramatises Borromini in his symphony with a baritone setting of his last testament, one thinks of operatic dramatisations of Renaissance, Reformation, Counter-Reformation minds and consciences: Pfitzner’s Palestrina, Krenek’s Karl V, Hindemith’s Mathis der Maler about Grünewald and his Die Harmonie der Welt about Kepler, Max’s own Taverner.
I don’t particularly want to add Philip Glass’s Galileo here, but perhaps I should.
And of Britten’s and Shostakovich’s Italian settings of Michelangelo and Henze’s of Bruno in Novae de infinito laudes.
There’s no opera about Luther, but he is a protagonist in Karl V.
Could Sessions’s Montezuma be brought in, via the mind of Cortés?
Charles V 1500