I like the operafication Glass did of La Belle et la Bete. I thought it was tremendous, and don't see anything sad about that. I wouldn't even have seen the film otherwise (or Blood of a Poet, Orpheus, Testament of Orpheus, and Les Parents Terribles.) I like the original soundtrack as well, but without the Glass score, I may not have discovered Cocteau's films at all. Maybe Britney Spears could score Mr Arkadin and introduce a new legion of fans to Welles.
Hell, if Glass operafied Kane, I'd give it a try. I can only imagine.
I wouldn't want to see Macbeth without dialogue except as a dvd extra. That seems an insult to Welles, considering it was his own original dialogue track that was used for the restoration. Just as sad for someone to see Macbeth the first time without Welles' own dialogue track. I appreciate the intent of concentrating on the music, but that's not my favourite Welles movie score (or film.) Much more interesting to see Benny Herrmann's score without dialogue. For me anyway. Though I've seen the release and restored versions of Macbeth enough times to have gone to see how Ibert's barabaric score works on its own (just too bad the closest showing was a few thousand miles away.)
I also didn't care much for Glass' Dracula score either, though I'm not opposed to the idea of new scores for old films (especially early talkies which barely had music until Max Steiner came along.)
What would be much nicer is if Lady from Shanghai had a dialogue-only track. I'd like to see that without the music. Then someone could do a new music and sound effects track for it (albeit not Philip Glass - better to use whatever old public domain stuff Welles might have used for his original temp score.)
Uh, I didn't even enjoy the Orson bits in Someone To Love that much. That's just me, but I didn't. I did like the first 30 minutes of A Safe Place.
Sto Pro Veritate