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"The Impulse" is a response to a poem by Cynthia Zarin, while the credits for "Epistasis" include "Abstract Libretto" by Kevin Draper.
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The libretto often waxes abstract and philosophical.
David Steven Cohen's libretto is spare and abstract, and the text (partly in Hebrew) is interspersed with large blocks of purely orchestral music without specific narrative.
But in the third, Balanchine did away with many elements of the original libretto, creating a series of abstract ensemble numbers.
"Abstract Opera No. 1", with music by Boris Blacher and a libretto based on an idea (by composer Werner Egk), "Hin und Zuruck" ("There and Back"), a sketch by Hindemith.
Although "Epistasis" shared similar elements — including an abstruse libretto about two satellites in love — this second ballet looked more abstract and the better for it.
Mr. Benjamin's music and Mr. Crimp's libretto recreate the legend of the Pied Piper of Hamelin in this abstract, perhaps surreal staging.
As for the other issue that had stymied the earlier ballet, the "Chout" libretto, Mr. Miroshnichenko said that he had treated the Chekhov story — the tale of an adulterous affair that changes its participants — in a relatively abstract way.
Royce Vavrek wrote the libretto.
"Sylvia" 's libretto is already classical.
"Gueule chance!" as the libretto says.
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CEO of Professional Science Editing for Scientists @ prosciediting.com