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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:Wed, 2 Nov 2016 19:41:08 -0700
Content-Type:text/plain
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Max --


The key word in your reply is imagination. In opera we listen with our eyes
and watch with our ears: so if your imaginary eye is activated by purely
listening, then that's as it should be! The DVD, of course, can replace
that imaginary activity, sometimes for the better and sometimes for the
worse. In my experience, DVDs do better than CDs in helping to fix the
large musico-dramatic arch, less well in fouscing the ear on musical
texture.




On Tuesday, November 1, 2016, Maxwell Paley <[log in to unmask]> wrote:

> You may not like it, but it's not baloney.
>
> It's using music in a home environment and creating "theater of the mind"
> around it.  For me, it would never replace live performance but it can
> still be a very compelling experience for people who have the imagination,
> patience, listening environment and sound system.
>
> Producers like John Culshaw were trying to make records that promoted this
> experience.  It's not for everybody but can be an alternative way of
> immersion in an opera that, with its heightening of detail and nuance, can
> be very satisfying.
>
> I actually prefer listening at home like this over watching DVDs.
>
> Max Paley
>
> Sent from my iPhone
>
> > On Nov 1, 2016, at 19:49, London Tier <[log in to unmask]
> <javascript:;>> wrote:
> >
> > 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] <javascript:;>> 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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