The ‘ubiquity’ of noh. ‘Only the sound remains’

Only the sound remains, by Kaija Saariaho and Peter Sellars, is a modern opera based on two noh plays Hagoromo and Tsunemasa, which Ezra Pound rendered into English working with Ernest Fenollosa’s translations of the original Japanese texts. There are several reviews of its performances available online – for example, The Guardian or Opera News.

The article on the Asahi Shinbun mentions the ‘ubiquity’ of noh. It seems to me that what is ubiquitous is the noh ‘brand’, not the art. I have not seen the performance but from the trailer below I wonder: what is left of noh?

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