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Subject: Re: Adorno on "Opera's True Object"
From: Daniel Tritter <[log in to unmask]>
Reply-To:Daniel Tritter <[log in to unmask]>
Date:Wed, 2 Nov 2016 10:28:34 -0400
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samson et dalila was entitled by saint-saens as an oratorio.
samson by handel....hmmmm........not so sure.

BUT having been present at the met's guillaume tell, apart
from ambiguities by adorno, revived my own feelings that
here was a wonderful evening musically, to a great score,
but a staging so dramatically threadbare and incompetent
that a concert version (e.g., as an oratorio) would have been
the appropriate presentation.

some of this invites questioning the biography of rossini,
offering an opera seria and saying farewell to opera, and
my experience the following evening at what i liked to
call rossini lite (allusion to advertising of various beers) and
"l'italiana in algieri." it was  a confection that was inextricably
tied to its staging. it worked in all respects (no little credit
to james levine's empathetic presence in the pit).

dft

On Wed, Nov 2, 2016 at 8:56 AM, Isaac Alan <[log in to unmask]> wrote:

> I think it depends upon which fragment of the facts you wish to believe.
>
> It has been truly said that an elephant without its trunk is not an
> elephant. An opera peeled down to music alone will of course function as
> music, but it is not an opera.
>
> Admittedly, there is little doubt that opera ceases to exist, either
> instantly, or only finally when the music is removed, but this places music
> in the same light as the elephants trunk.
>
>
> An intricate work of theatre, is what opera is, ranging from quite a
> little to monumental depending upon the opera.
>
> There is no doubt that music is the backbone, and may even be the major
> reason for the existence of opera, but it is only complete as an art form
> when all its pieces, light, heavy, great, and small, are in place and
> working together.
>
>
> Regards,
>
> Isaac Alan
>
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