LISTSERV mailing list manager LISTSERV 15.5

Help for OPERA-L Archives

OPERA-L Archives

OPERA-L Archives


Next Message | Previous Message
Next in Topic | Previous in Topic
Next by Same Author | Previous by Same Author
Chronologically | Most Recent First
Proportional Font | Monospaced Font


Join or Leave OPERA-L
Reply | Post New Message
Search Archives

Subject: Re: A Further Response to Mr. Brenesal (Why Personal Histories are Important)
From: "R.M. Auerbach" <[log in to unmask]>
Reply-To:R.M. Auerbach
Date:Tue, 12 Jun 2001 11:12:23 -0400

text/plain (18 lines)

On Tue, 12 Jun 2001, Jeffrey Collord <[log in to unmask]> wrote:

>>   At the core, it's the music we  respond to, but what if knowing
something about a composer helps us to appreciate his or her works just
that much more?<<

Recently, a colleague asked me why Billy Budd is a baritone and Vere is a
tenor.  It is only relatively recently that Britten's relationship with
Pears was written about or talked about publicly (although it was fairly
obvious before that). Why is this information any less helpful in
understanding Britten's writing for tenor than, for example, understanding
Berlioz's "Symphonie Fantastique" in light of his infatuation with Sybil
Sanderson, or Janacek's Katya, in light of his long-term, troubled affair
with a young woman, late in his life, described in great detail in the MET
program book last year?


Back to: Top of Message | Previous Page | Main OPERA-L Page



CataList Email List Search Powered by the LISTSERV Email List Manager