Hudson’s music was clever and well-crafted, reminiscent of Bernstein or perhaps of a light-hearted, avuncular Stravinsky. He understands the kinds of melodies singers like to sing, and within the boundaries of carefully conceived formal harmonic plan, gives them those kinds of melodies. The luna moth’s vocalise in Act II was supreme, as were the paper wasp’s polyglot waltz and many of the mosquito’s laments, all very shapely and leading to blooming high notes that are the meat and potatoes of opera singing.

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By CLIFTON J. NOBLE JR.