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　　Base(#\$d on an %[unkno %wn Schö*nberg opera from* 1929,@* (From$@ Today Unti( l To$#%morrow explores o\$*?!ne \nigh+t  [@;in a)\ n ot-quite$` lovele_s*%!s^ ( m!!_arriage. A^ h/
:usba+nd ,;and ^=;w,$;ife return ;*from a part=y wh `ere sh,.e has #]flirted wit_+h another m]an, while h)*e has cast an app:$ra![ising eye toward a#n a]+t)tractive, fashi$ona`@bly dre%:ssed: */acquaintanc) e of )/ hi+s wife%’s.# Tho!ugh each d)`ream/=!:s, $ briefly, of leaving the mar;?riage for the exci$/tement and mystery of a new lover, in th?e end they decide (#
stabi#li[ty )an`]d comfort are more important= than the fl_eeti+#ng:\ thri-.l`+ l of ne `_w rom _,ance. Direc.%tors J=##ean-Marie Straub a] *%n()d Danièle Hui]llet, who p(r(=eviously collabor)at ed)( on t,(wo (:ot#/,her fi @#lms about($ music (The Chro=, nicle of Anna Magdale]!na =Bach, 1968, and Moses [%and Aa*r on, 1 975), ;_ rely on ))`long fixed shot@;s in auste;(re b;: lac!\-:)k-.^and[-w,
.hite so that the fo%..cus remain=?s on the mus_ical brillian+@ce o f Sch!)ön]be
)rg:’+.]/s atonal score, perf(ormed here !by 70 mu-!s^/i [ci,[ ans. That #Schön#berg woul[d $;choose su !ch a$ re-!l (atively l$ighth]ea$#rted mess_]age fo-!r  _]his newly discove *re#d musical
_$lang :\ua==ge re#*[mains a mystery, espec
(ially sin(=ce the conclus]`.ion re `:ached_*= by t\he hu%.sband and wife—to #?sti!-ck with the tried and true—seems +]directly ;at o;(dds with Schönberg’s =o?;`.wn philosophy of] co#mposing.  It is just this`- jux@
tapos ]?itio(n, howev?er, coupled wi% th Straub an*$d H_ui)lle=t’s ,_ faithful presentati;on, th]at ma+kes @? the op=*era a co;,=-mpelling] addition to the Schönberg canon—and #(^the fi?^ l@m suc@h a chal lenging and `+=;[intri[`g;#-uing e*-?xp%:e](+rience.