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Subject: Re: Pretentious Quotes
From: RAYMOND GOUIN <[log in to unmask]>
Reply-To:RAYMOND GOUIN <[log in to unmask]>
Date:Thu, 16 Mar 2017 00:11:19 -0400
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My dear Don --

´╗┐The answer to your question is a resounding "NO". The vast majority of GCR's posts are like the trail of offal left behind by the naked, incontinent village idiot when the elders fail to diaper him. Most people (with the apparent exception of yourself) quickly tire of picking up behind such individuals, not withstanding your knee-jerk reaction to immediately come to their defense every time one of these messages is regurgitated onto Opera-L.

Best.
Ray

***

> On March 15, 2017 at 10:51 AM donald kane <[log in to unmask]> wrote:
> 
> 
> It has been clear for quite some time now, that "GCR" gets satisfaction
> out of digging up provocative statements about opera from a variety of
> sources, and posting them to see what happens.  What's wrong with that?
> Can't we just get used to it, the way we have to get used to a tsunami of
> conflicting data on when, where, and how a celebrated diva sang what, as,
> currently in the case of Leontyne Price,  around whom the waters have still
> not receded?  Nothing new about any of it.
> 
> As a matter of fact, the belittling of opera's stature as a form, in
> relation
> to the art of music in its entirety, is understandable, and depending on
> the musical historians being quoted, more than justified as food for
> thought.
> What I do question is the purpose of offering quotations under the name
> "anonymous".  Who wants to agree or disagree with him?
> 
> dtmk
> 
> On Tue, Mar 14, 2017 at 11:54 PM, Jon Goldberg <[log in to unmask]> wrote:
> 
> > Boy how you do seem to be (*seem* to be???) obsessed with some fabricated
> > "class
> > system" of operas and with "serious study" of opera. So many of your
> > quote-pulling posts
> > seem to echo these concepts. One would think by now you'd want to talk
> > about something
> > else, lol.
> >
> > That said - in the world at large (i.e. not in our little opera-obsessed
> > bubble), there is most
> > likely no such thing as "middlebrow" opera. For lots of people, opera in
> > general *is* boring,
> > partially because it's seen as being so pretentiously highbrow. We know
> > that perception is
> > wrong, but still that perception exists. (And the same goes for
> > perceptions about classical
> > music in general, of course.)
> >
> > Ironically, I think it's only the most self-important, self-proclaimed
> > "highbrow" opera fans
> > who rate popular operas as "boringly middlebrow." Personally, I find those
> > kind of so-called
> > opera fans boringly faux-highbrow, and really don't want to have anything
> > to do with them.
> >
> > I like a good mix of the standards AND the more obscure, adventurous rep,
> > as I assume
> > most all of us do (save you and Mr. Grossman, lol). I see no problem in
> > that. I think Mr.
> > Grossman should be permanently locked in a padded cell with some of that
> > typical
> > Hollywood fodder (whatever that means) and some really boring Aida Boheme
> > and
> > Carmen. I think that would be proper Mikado-like punishment. ;-)
> >
> >
> > On Tue, 14 Mar 2017 22:55:54 -0400, Genevieve Castle Room
> > <[log in to unmask]> wrote:
> >
> > >>1) Most works in the standard (i.e., boringly middlebrow) operatic
> > >repertoire do not warrant serious study and deserve to be seen no more
> > than
> > >typical Hollywood fodder.
> > >
> > >(Andrew Grossman)
> >
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