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Subject: Re: Interpolated notes
From: Jon Goldberg <[log in to unmask]>
Reply-To:Jon Goldberg <[log in to unmask]>
Date:Mon, 25 Sep 2017 10:23:13 -0400
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If it's *just* music, then it better be a concert version. No costumes, no sets, just one 
broad light cue for the full stage, the orchestra onstage with the singers, etc. 

And even then, some of us would and should argue that even music itself, even non-vocal 
music for that matter, has dramatic meaning and purpose. Or at least that it CAN have 
that meaning and purpose. 

Opera, from the Camerata on, has always been an attempt to bring together all forms of 
art in some respect - and at the forefront of that synthesis has always been theatre along 
with music. The balance has changed back and forth over time, and we will always debate 
what that balance is, but opera at its most basic is not just music. 

As to your final point, I'm trying to think of any standard choral piece where a voice 
section is invited to interpolate. Can't think of anything. Donald, I do think even you are 
savvy enough to recognize the difference between a soloist's ability to do so as opposed 
to the chorus, flippancy in your post or not. Hell - would you like the trombones to play 
that same soprano high Eb too? Why can't the orchestra be involved in interpolating too, 
huh?? ;-)


On Mon, 25 Sep 2017 02:56:11 -0400, donald kane <[log in to unmask]> wrote:

>It's not the plot, it's not the pageantry, it's the music.  Why not listen
>to it
>as music?  Alternatively, why not have the sopranos in the chorus all sing
>an Eflat in unison, drowning every body out?
>
>dtmk
>
>
>On Sun, Sep 24, 2017 at 8:16 PM, <[log in to unmask]> wrote:
>
>> Of course, not a single person has even mentioned whether a high E flat
>> fits in with what's happening in the plot.  Yes, there is a lot of pagentry
>> - but it's all ironic, as all the protagonists don't give a damn about it
>> and are heavily engaged in lots of internal dialogue and turmoil.  That's
>> what makes the scene exciting - not pagentry for its own sake, but that
>> it's so very much at odds with what's going on with the characters.
>>
>> "What hope now is left to me?
>> For him, glory and the throne,
>> for me, oblivion and the tears
>> of a hopeless love."
>>
>>
>> Those are Aida's lines at the end of act 2.  Given the context of her
>> hopeless situation, does it sound like she wants to sing a high E flat?
>>
>>
>> Bob Kosovsky, Ph.D. -- Curator, Rare Books and Manuscripts,
>> Music Division, The New York Public Library for the Performing Arts
>> blog:  http://www.nypl.org/blog/author/44   Twitter: @kos2
>>  Listowner: OPERA-L ; SMT-ANNOUNCE ; EXLIBRIS-L ; SoundForge-users
>> --- My opinions do not necessarily represent those of my institutions ---
>>
>>
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