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Subject: Re: Operatic color schemes
From: Don <[log in to unmask]>
Reply-To:Don <[log in to unmask]>
Date:Wed, 21 Jun 2017 13:25:52 -0600
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I did see the Der Rosenkavalier a few years ago in Los Angeles and each act
was a different color although I"m not sure why.  Act 1 was blue, Act 2
yellow(Faninal's nouveau riche gold?) and the last act red(tacky hotel red
I suppose).

On Wed, Jun 21, 2017 at 10:07 AM, Max D. Winter <[log in to unmask]> wrote:

> Max Paley said:
>
> "When Leonie Rysanek came to San Francisco to sing her first Ortruds in
> 1982, she was shocked at Beni Montresor's pink and gold sets as well as
> the costumes. Her comment: "But I thought "Lohengrin" was a BLUE
> opera!"
>
> I think Rysanek's color scheme comes from Thomas Mann's famous
> description of the music of the Lohengrin overture as "silberne-blaue"
> (silver-blue).  To the extent one can ascribe colors to music,  I think
> this is
> a pretty good description.
>
> Speaking of colors in opera, my grandmother (a musician who instilled in
> me my love for music and opera in particular) once told me a funny story
> about a performance of "Le Nozze di Figaro" she attended in Vienna in the
> late 50s.  The cast included Schwarzkopf, Seefried, Ludwig and Fischer-
> Dieskau and was conducted by (as I recall) either Bohm or Karajan.  I was
> very impressed and asked her how it was.  She said, "We left after the
> second act."  Stunned, I asked why.  She said, "Well, in Act II,
> Schwarzkopf was wearing a puce-colored dress, and the walls of her
> boudoir were pink.  And that dress and those walls kept saying dirty words
> to each other all through the act.  And I was so upset by the end that I
> told
> your grandfather we had to leave."
>
> Imagine, walking out on a performance like that.  Now THAT'S color
> sensitivity!
>
> MDW
>
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-- 
​Always keep a roll of baling wire and another of duct tape in your car.
It's amazing how useful it can be.

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