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Subject: Re: tosca
From: donald kane <[log in to unmask]>
Reply-To:donald kane <[log in to unmask]>
Date:Sun, 23 Apr 2017 11:57:30 -0400
Content-Type:text/plain
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text/plain (120 lines)


It's better if the audience never sees the painting at all, only the back
of it.  It's
the face of the tenor you want to see as he stands before the easel to sing
"Recondita armonia".  And if any diva, in a fit of jealousy, were to attack
the
canvas, the opera would quickly end with her strangulation by the artist.

dtmk

On Sat, Apr 22, 2017 at 3:59 PM, gordon young <[log in to unmask]>
wrote:

> As an artist the depiction of art and art practices in opera always fail –
> maybe I should say generally fail. In Boheme if the is no visual reference
> to Marcelo’s being an artist, no canvases or any of the clutter that makes
> up an artist’s studio I question every other aspect of the designers
> concept.
>
> I don’t think I have ever seen a Tosca production where I accepted the
> painting of the Magdalene. Most often the style of the painting ignores the
> period in which the production is presented.  If the production pretends to
> be set in the Napoleonic era the painting should reflect the preferred
> style for religious art of the period. Ingres or David would be acceptable
> Gainsborough or Klimt not. If the image is intended to represent the
> repentant Magdalene some compositional concepts must be considered. If the
> painting is in a secular location the compositional elements are more open
> than if, as in Tosca, the setting is religious.
>
>
>
>  In the Tosca being discussed the updating into the digital era brought
> many question to mind that interfered with my concentration on either story
> or music. What was the function, for Cavaradossi, of using the computer and
> what the hell was he doing with it. Was it merely a tracing tool and I can’
> think of any artist using digital technology doing that. Why was the dumb
> image shown on the wall? Why was it on the floor? Did the designer not
> realize that people and crowds marching all over a “painting” would make
> the surface unworkable. Only a conceptualist would want or tolerate the
> conscious destruction of their work but in this production Cavaradossi is
> not a conceptualist. It might have been fun to style him more on Koons than
> Schnabel.
>
>
>
> The rest of the production got sillier and sillier. The bad guys all
> dressed alike and wore glasses.  Were the glasses a metaphor for a lack of
> insight? And it would have helped of the Scarpia had ever had singing
> lessons. And some contemporary clichés … black fingernail polish?
>
> Opolais has never been a singer I enjoyed and she doesn’t thrill as Tosca.
> She never creates a character and give the diva some makeup to help.
>
>
>
>
>
>
>
>
>
>
>
> On Sat, Apr 22, 2017 at 11:59 AM, Kay Bosworth <[log in to unmask]>
> wrote:
>
> > Unfathomable, yes, but this digital-age update doesn't go far enough.
> >
> > In this production, Tosca would go home to collect her jewelry but she
> > stops for a moment to
> > turn on her laptop. She does a search for "Palmieri" and realizes she has
> > been cruelly tricked.
> > Knowing that Mario is doomed, she grabs her safe-conduct and escapes
> > alone, sending a final
> > text to the chief: "See you in hell, pig. LMAO."
> >
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