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Subject: Re: Are opera movies forgotten?
From: donald kane <[log in to unmask]>
Reply-To:donald kane <[log in to unmask]>
Date:Mon, 4 Sep 2017 10:23:49 -0400
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You have named four of the best: ELEKTRA, SALOME, Bergman's
MAGIC FLUTE, and the "on location" TOSCA, to which I would add
a MADAME  BUTTERFLY, also with Domingo (leaping through the
paper wall of Cio cio san's house at the end), and  some portions of
Syberberg's  PARSIFAL.   All of these are in beautiful color and, aside
from the weirdness of the latter, range from reasonably to perfectly
traditional recreations of the way these operas should look, with the
added freedom and flexibility of escaping the confines of a stage.

One favorite excerpt, even though I can't remember whether it was from
FAUST or  R & J, is the opera being performed about a hundred and
thirty years ago in the brand  new "old"  Met at the beginning of THE
AGE OF INNOCENCE, another is the hilarious confrontation between
Isolde and Tristan while Michael York scans the parterre boxes in
SOMETHING FOR EVERYONE.

dtmk

On Mon, Sep 4, 2017 at 8:12 AM, Don <[log in to unmask]> wrote:

> There was also that quasi-documentary of Parsifal with Domingo, Tosca with
> Domingo and Kaibaivanska, La Rondine with Stratas, Marriage of Figaro with
> te Kanawa and Prey, Clemenza di Tito with Neblett and Levine, Death in
> Venice by Tony Palmer, Rysanek's Elektra, Bergman's Magic Flute, Salome
> with Stratas and Bohm conducting.
>
> On Mon, Sep 4, 2017 at 5:40 AM, Idia Legray <[log in to unmask]> wrote:
>
> > Somehow, for me, opera movies never really cut it.  I find them heavy
> > handed and cornball for the most part.
> > I'd rather see scenes and  hear opera scores from movies like "The Great
> > Caruso",  "Moonstruck" and "Godfather 2".
> >
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