A few years ago, singer/songwriter Rufus Wainwright endeavored to produce his own modern opera. It was called Prima Donna and, as one might expect from a French-language anachronism penned by an already idiosyncratic artist debuting in New York City, it didn't do very well either commercially or critically. But then, Rufus Wainwright has more or less cemented himself as the kind of recording artist who does that sort of thing regardless of success. He only briefly flirted with the pop charts in the late 90's before he decided to put his considerable talents into pursuits that better fit his classicist leanings. As a pop record, All Days Are Nights: Songs For Lulu doesn't press the right buttons. It's quiet, sad and rarely catchy. Taken as a work of heartfelt performance art, it makes a lot more sense, especially coming from the guy who decided to reimagine Judy Garland's entire Broadway show.

Songs For Lulu opens with "Who Are You New York?", a lush and lonely ballad to Wainwright's long-time port of call. It's a fitting introduction to the rest of the album. It's just Rufus and his piano. He's never been shy of multiple instrument arrangements, even employing orchestras in the past. But not on this record. Every song is a piano-accompanied solo effort. It's the closest thing to an impromptu bar show starring Rufus Wainwright most of us will ever get.

Wainwright's mother, the folk musician Kate McGarrigle, passed away after a long bout with cancer this past January. Songs For Lulu reflects an appropriate woundedness and sense of loss. It's never exactly maudlin, but rather intimate. In the song "Martha" we are privy to what sounds like an extended voicemail message left by Rufus to his sister. He mentions visiting their struggling mother, reconciling with their distant father (the notable wandering musician Loudon Wainwright III), and generally coming to terms with the fact that any semblance of childhood is about to vanish along with McGarrigle's life. This song is especially reminiscent of the tossed-off narrative songs he frequently features in his live performances, like a sadder rendition of "Tulsa".

Tracks 6, 7 and 8 on Songs For Lulu are three of William Shakespeare's sonnets adapted to song. "When Most I Wink" is Sonnet 43, "A Woman's Face" Sonnet 20, and "Shame" Sonnet 10. The high concept of this chunk of songs is easier to swallow with how nonchalantly Wainwright sings the thee's and thou's, though they're still not the strongest tracks on the album. They're more of a curiosity befitting the already insular art of the record. In short, I'd rather they appear on this overtly unusual album than show up on a more pop-oriented LP.

The most fully-realized track on Songs For Lulu is "The Dream". While it sounds like it could easily take on fuller instrumentation in the future, Wainwright adds enough flourishes with his vocals and the piano that it doesn't sound too wan. It wants a loose waltz more than a set of drums.

All Days Are Nights: Songs For Lulu isn't where I'd direct anyone who isn't very familiar with Rufus Wainwright already. For neophytes it's more likely to be confounding than beautiful. For dedicated fans, it's like being invited into the singer's home for a candid chat. And, as always, it's heartbreakingly pretty.