LISTSERV mailing list manager LISTSERV 15.5

Help for OPERA-L Archives


OPERA-L Archives

OPERA-L Archives


View:

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

Options:

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


Subject: Re: Comforting Quotes
From: Leslie Barcza <[log in to unmask]>
Reply-To:Leslie Barcza <[log in to unmask]>
Date:Fri, 31 Mar 2017 03:44:28 -0400
Content-Type:text/plain
Parts/Attachments:
Parts/Attachments

text/plain (47 lines)


In a series of messages, members of OPERA-L have seemed somewhat hostile, even 
dismissive of 
 Genevieve Castle Room <[log in to unmask]> 

In his/her own self-defense came the reply:

           I have my own answers to questions like these:
>1) How many operas are suffused with beauty of a deeply individual kind?
>2) How many operas are a product of inspiration of an exquisite and
>scrupulous intelligence?
>3) How many operas enlarge the expressional boundaries of the art in a
>degree which is not easily to be defined?

These are not troll questions. They are actually the kind of questions you find being asked 
by some of the composers who make opera. This is never clearer when i have a 
schizophrenic week like this one, going back and forth between the sublimely pure (Tallis 
Scholars, or the films of Straub & Huillet, who adored Schoenberg) and the blatantly 
popular (the Toronto Symphony playing RAIDERS OF THE LOST ARK with a live concert 
performance of the score).

Awkward as the conversation gets, these are important questions posed by GCR.  What I 
find missing from the scholarly side (and i say this, not having really looked deeply in the 
past few years or so) is a proper investigation of those questions, framed within the 
phenomenon of popularity, and more conservative musical forms.  I'd like to see John 
Adams understood alongside John Williams & Stephen Sondheim, not just in the bell-jar of    
so-called classical music. And the conversation needs to be a conversation. If you look at 
the examples from the political realm, it's clear that there is a lot less conversation: as 
in, less tolerance and patience for dissent, a near absence of collegiality.  These are vital 
skills in any conversation. 

Can't we all just get along? i don't care if you like the same music that i like, but the 
conversation is still worth having. 

    https://barczablog.com/ 

**********************************************
OPERA-L on Facebook:
http://www.facebook.com/groups/25703098721/
--------------------------------------------------------------------------
To UNSUBSCRIBE, send a message to [log in to unmask]
containing only the words:  SIGNOFF OPERA-L
--------------------------------------------------------------------------
To stay subscribed but TURN OFF mail, send a message to
[log in to unmask] containing only the words:  SET OPERA-L NOMAIL
--------------------------------------------------------------------------
Modify your settings: http://listserv.bccls.org/archives/opera-l.html
--------------------------------------------------------------------------

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

Permalink



LISTSERV.BCCLS.ORG

CataList Email List Search Powered by the LISTSERV Email List Manager