From an operatic standpoint, Shostakovich’s The Nose is a bit of an odd duck, “an absurdist portrayal of a man whose nose departs from his face, runs around town disguised as a bureaucrat, and makes hash of prerevolution Russia’s strict class distinctions.” Musically, the work is a brutal exercise in control, featuring among other things a ten-part chorale and a double canon. (“Imagine Noel Coward patter songs played at warp speed and thrown into a blender.”) But after decades of relative obscurity, The Nose is starting to see some more performances, and the Kirov Opera has adopted it as something of a cause.