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Subject: Re: The most influential opera to impact our own time is:
From: Rich Lowenthal <[log in to unmask]>
Reply-To:Rich Lowenthal <[log in to unmask]>
Date:Fri, 26 Jan 2018 16:58:55 +0000

text/plain (64 lines)

One more piece of trivia that could be mentioned to support the 
importance of Der Freischutz in American music was the fact that Jenny 
Lind's breakthrough performance (and debut at the Royal Swedish Opera) 
was as Agathe--Lind's concert tour under P. T. Barnum was instrumental 
in popularizing both opera and concerts in nineteenth-century America.

However the whole discussion seems little more than a parlor game--there 
are any number of operas without which the current soundscape would be 
far different. Without Freischutz there may have been no Wagner (or a 
very different Wagner), but without Fidelio there was no Freischutz, 
without Zauberflote there was no Fidelio, and on and on. The Black Crook 
is also a fun answer to a trivia question, but similar works were staged 
around the same time, and I doubt that had the Black Crook not been 
produced it would have really changed anything appreciably.

I do not doubt however that Freischutz remains the answer to the 
question "what is the most influential rarely performed 
nineteenth-century German opera?"

------ Original Message ------
From: "Jon Goldberg" <[log in to unmask]>
To: [log in to unmask]
Sent: 1/26/2018 11:45:30 AM
Subject: Re: The most influential opera to impact our own time is:

>My $.02 is that no matter what happened with Freischutz and Black 
>Crook, I think that
>the "Pinafore craze" that happened shorty after Black Crook's premiere 
>had much much
>more of an influence on the development of the American musical. As 
>much of a melting
>pot as the American musical is, I think we owe a great deal to British 
>styles like G&S and
>music hall, etc.
>And since Mr. Camner wants everything to be "6 Degrees of Hamilton," 
>lol (cool your jets,
>James, I'm just having fun), we can certainly make a direct line from 
>music hall to "You'll
>Be Back," with most likely the Beatles ("Penny Lane", "Mr. Kite," "When 
>I'm 64" etc) in
>the middle of that trip.
>Also, of course, "The Black Crook" was primarily more of a pastiche (in 
>the operatic
>definition of the use of pre-existing tunes, just like The Beggars 
>Opera - not the current
>musical theatre definition of "writing in the style of") - whereas 
>Pinafore was sui generis
>and the start of a whole new specific genre of operetta.

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