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Subject: Re: Booing at the Met
From: donald kane <[log in to unmask]>
Reply-To:donald kane <[log in to unmask]>
Date:Mon, 30 Oct 2017 11:04:46 -0400
Content-Type:text/plain
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text/plain (193 lines)


Even with professional performers there is no guarantee of musical
sensitivity, a quality I value more than proper terminology.  I disliked
theory lessons  intensely, but when we moved on to musical memory,
sometimes known as "music appreciation", I led the class by miles.

dtmk

On Mon, Oct 30, 2017 at 10:07 AM, Jon Goldberg <[log in to unmask]> wrote:

> Ridiculous. Just ridiculous.
>
> And I've always felt I'm a bit of a purist myself, but clearly not
> compared to you guys, lol.
> To each his own.
>
> "Discordant" is a completely wrong term, by the way. The final chord of
> Butterfly is
> completely tonal and not at all dissonant in any way. (It's a simple VI
> chord in first
> inversion. Nothing discordant about that.) It's completely unexpected, and
> does not
> resolve as we would expect it to, but it is not a discord, even in this
> context. Mr. Kane
> needs to go back to his first year music theory class, lol. (What? He
> never took that
> class? Well, that explains it.)
>
> ;-)
>
>
> On Mon, 30 Oct 2017 09:21:03 -0400, Tom Frey <[log in to unmask]> wrote:
>
> >Agreed. There are to be some sort of board that overlooks opera
> presentations and
> disallows such foolishness. I would gladly serve  a term or two.
> >----- Original Message -----
> >From: donald kane <[log in to unmask]>
> >To: [log in to unmask]
> >Sent: Mon, 30 Oct 2017 09:10:56 -0400 (EDT)
> >Subject: Re: Booing at the Met
> >
> >What is done in other operas "all the time" (???), is irrelevant; the
> >discordant close of MADAMA BUTTERFLY is unique, and to hear
> >it as an opportunity to insert one last directorial piece of business
> >is insensitive.  It would sound as though the person responsible had
> >not been listening to the wealth of sweet and ravishing commentary
> >Puccini's orchestra had supplied for the past two hours, finally
> >stating, in its own incomparable fashion, the true nature of what has
> >transpired.
> >
> >dtmk
> >
> >
> >
> >
> >On Sun, Oct 29, 2017 at 11:26 PM, Jon Goldberg <[log in to unmask]>
> wrote:
> >
> >> I disagree completely. This isn't about adding characters that aren't
> >> meant to be in the
> >> scene, such as that odd choice in Lucia - it's simply about taking clues
> >> from the music and
> >> making use of them visually. As is done naturally in many other moments
> in
> >> operas all
> >> the time.
> >>
> >>
> >>
> >> On Sun, 29 Oct 2017 22:31:52 -0400, Idia Legray <[log in to unmask]>
> >> wrote:
> >>
> >> >"That is exactly the kind of thinking that can destroy a composer's
> >> perfectly
> >> >placed musical inspiration.  What Puccini is saying in the most
> powerful
> >> >and ironic way, is that there is nothing more to say.  Any action on
> stage
> >> >while that excruciating chord is sounded would reduce it to a cheap
> shot
> >> out
> >> >of a third class "film noir".
> >> >
> >> >dtmk"
> >> >
> >> >It isn't often that I am on the same page as dtmk but this time I
> totally
> >> >agree with him.
> >> >
> >> >It brings back unpleasant memories of Lucia's ghost coming back from
> the
> >> >dead to hand "poor weakling Edgardo" a knife to stab himself with.
> >> >How Donizetti must have been writhing in his tomb over THAT one!
> >> >
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