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Subject: Re: Guth's "Lost in Space" "La Boheme" for Paris
From: Don <[log in to unmask]>
Reply-To:Don <[log in to unmask]>
Date:Mon, 18 Dec 2017 15:45:05 -0700
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I feel strongly both ways.
dond

On Mon, Dec 18, 2017 at 12:35 PM, G. Paul Padillo <[log in to unmask]>
wrote:

> Mr. Liebert wrote:
>
> "Color me naïve, but when I go to see Puccini's La Boheme I want to see
> Puccini's La
> Boheme the way Puccini imagined it would be performed.  (Okay maybe he
> didn't imagine
> 250 people on stage for the Café Momus scene, but it clearly fulfills his
> intent.) A Star Wars
> version of La Boheme should be called something else the same way West
> Side Story is not
> called Romeo and Juliet."
>
> * * * * *
>
> Why should anyone call you naïve?  You like what you like and no excuses
> need be made.
> My problem is those who don’t enjoy a director’s work, no one else should
> – or damn it as
> disrespecting to the composer.  Trust me, most composers would be tickled
> pink to know
> their work is performed, admired, loved and discussed long after their
> deaths.  They’ve
> created works of lasting power that crosses time 0 in many instances,
> centuries.
> To insist a different staging should be called something else, one must
> really come up with a
> better choice than “West Side Story.”  First, of all, Shakespeare borrowed
> heavily from
> “Romeus and Juliet,” which predates his telling by some four decades.
> Second, Bernstein
> and company move the story up about half a millennia, gives them all
> different names,
> changes the locale and ethnicities of the characters, and tells the story
> through song and
> dance.  Of COURSE it gets a different title – it’s a different work
> entirely.
>
> Guth’s production of Boheme still has the lovers in Paris, still has
> everyone intact, uses the
> same libretto and score, so why should it be called anything but “La
> Boheme?”  Rodolfo,
> near death, is remembering the story and relays it with fairly faithful
> attention to the
> libretto.  He sings nothing extra, there is no extra music, the
> descriptions of where they are
> and what’s going on, presented in his journal.  Such a “flashback” manner
> of telling a story
> is hardly new, but, as witnessed in Paris right now, highly effective and
> winning and moving
> audiences with tickets selling like the proverbial hot cakes, or in this
> instance . . . crepes.
>
>
> Mr. Wilson wrote:
>
> “When I read a classic novel, do I want the settings, slang and milieu
> updated? Leave great
> art alone.”
>
> I can only ask, how reading a classic novel can in any way be compared to
> seeing a movie,
> or play, or opera?  No one changes the words in "books" . . . they’re
> different beasts
> entirely.  Reading a book EVERYONE gets to play the director seeing it in
> his or her own
> light.  By the above argument, all performance-based art based on
> literature should have to
> be called something else.  And what of narrowing down a work of, say 800
> pages into a two
> and a half hour movie or three hour opera?  I recently watched a lovely
> 2002 film of
> “Nicholas Nickelby” which pared down the novel, tightened plot lines,
> removed characters,
> but the story is still there and, movingly told.  Is this then a
> bastardization that should not
> exist.
>
> I hold to my guns with my earlier post:  art is evolutionary by its very
> nature, it stands still
> for no one, even if we try to nail it down.  The only way it can stay the
> same is by our
> refusing to breathe new life into it, thus killing it.
>
> p.
>
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