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Subject: Re: Adorno on "Opera's True Object"
From: London Tier <[log in to unmask]>
Reply-To:London Tier <[log in to unmask]>
Date:Tue, 1 Nov 2016 19:49:07 -0700
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A whole bunch of baloney from Herr Professor Adorno. Opera that can stand
on musical feet alone is not opera, since, in Adorno's terms, it is a
medium raised on an irreducible force-field that includes music, drama and
(taken widely) stagecraft. So I wholly repudiate these comments on grounds
he so brilliantly pioneered!



On Tuesday, November 1, 2016, Genevieve Castle Room <
[log in to unmask]> wrote:

> Any reaction to this essay by Adorno?
>
> Do you think his prose could be vaporous and go way over the top or do you
> basically agree with him on this topic?
>
>
> ====Begin====
>
> >Adorno’s final major essay on gramophony, *Opera and the Long-Playing
> Record*, published in Der Spiegel in 1969, places the gramophone as
> the 'optimal' presentation of opera, providing 'a concentration on music as
> the true object of opera. Shorn of phony hoopla, the LP simultaneously
> frees itself from the capriciousness of fake opera festivals.' He says
> 'recordings
> awaken to a second life in the wondrous dialogue with the lonely and
> perceptive listeners, hibernating for purposes unknown'.... This 'théorique
> immersion' implies gramophony as re-presentation of an ideal scene — one in
> which the 'force and intensity that had been worn threadbare in the opera
> house' was recaptured, and the preclusion of optical stimuli, that he
> proclaimed 'must be subordinated to the primacy of music,' was guaranteed.
>
> http://users.clas.ufl.edu/burt/silentfilmphilology/778937.pdf
>
> ====End====
>
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