You remember Endgame, the Samuel Beckett doomsday comedy populated by a blind tyrant in a wheelchair, his skittering dogsbody, and the tyrant’s parents who pop up out of twin trash cans. When György Kúrtag attended the play in Paris in 1957, at the urging of his fellow Hungarian experimentalist György Ligeti, he came away with one of the strongest impressions he had received in his life. His opera, which mercifully jettisons some 40 percent of Beckett’s text but also includes some inserts, reached the stage at Milan’s Teatro alla Scala in 2018. Critical hosannas for the score’s intricacies and invention were way over the top, but to pretend that its appeal could ever be broad would be critical malpractice. Unsurprisingly, subsequent performances have been rare. Kudos to the Proms for a chance to immerse oneself in its strange world. —Matthew Gurewitsch