By calling his drama Angels in America “a Gay Fantasia on National Themes,” Tony Kushner implies that his two-part, seven-hour saga about America’s response to Aids operates like a musical work; perhaps he even envisioned that it might one day be turned into an opera. That day came in 2004 when the Hungarian composer Peter Eötvös’s opera had its premiere at the Châtelet in Paris. That a long play had been transformed into a shortish opera (2? hours) provoked little dissent, but critics held that Eötvös’s music lacked a strong profile.
In witnessing its American premiere Eötvös's Angels sometimes seemed more like an experimental music-theatre piece than an opera.