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Subject: Re: On the Carmina Burana
From: ANGELO MAMMANO <[log in to unmask]>
Reply-To:ANGELO MAMMANO <[log in to unmask]>
Date:Mon, 26 Feb 2018 20:04:10 -0500
Content-Type:text/plain
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Thank you for saying that I have a good memory.  I actually have learned

a lot about Boston operatic history from reading your comments here. I sort

of recall Carmina Burana being staged perhaps at the Boston Conservatory

a long time ago.  These days I generally try to avoid  listening to it, as I

find that I have lost interest  after hearing it so often in my younger days. 

As I am sure you know, Sarah did a double bill of two de Falla pieces back

in the late 70's:  La Vide Breve and El Retablo de Maese Pedro. That was

interesting  in that de los Angeles sang only one Salud and then disappeared.

 

Angelo from Boston


On February 26, 2018 at 5:37 PM RAYMOND GOUIN wrote:


I "discovered" Carmina Burana in my college freshman year. Instantly became enamored of it than gradually grew tired of it. Now, almost some sixty years later, I will listen to bits of it every year or so when it come across my path (but no more), in part to chuckle in remembrance of my tastes at an earlier age -- it's sort of like the musical equivalent of coming upon Ayn Rand's "The Fountainhead" for the first time. It is a right of passage.

On its own, it is a brash, ribald, noisy, crude, vulgar work and -- as such -- totally appropriate for its subject matter and the period portrayed. In that respect, Orff was a brilliant composer.

Many years ago, I dimly remember seeing a staged version of the work which left me with the impression that it was better left as an unembellished concert piece. It was part OF a double bill with a de Falla piece if memory serves me right. But Angelo, who has a much better memory than I, can clarify the same.

Best from Boston.
Ray Gouin

> 
>         > > On February 26, 2018 at 4:49 PM Robert Thomson wrote:
> > 
> > 
> >         Re. Estelle's negative opinion of Carmina Burana I have to say I see it
> >         very differently.
> > 
> >         It has power, mystery, charisma, urgency, sudden and dramatic changes in
> >         volume
> > 
> >         and tempo, and I don't know what all. However one describes it, it is
> > 
> >         like no other music that I have ever heard. You only have to hear a few
> >         bars to know
> > 
> >         what's playing. Parts of it seem to me (and this is hard to explain)
> >         Nazi, definitely Nazi.
> > 
> >         I can imagine a Nazi torchlight rally with this strange music playing in
> >         the background.
> > 
> >         And, no, I am not a Nazi, thank you very much but I do believe we have
> >         to look
> > 
> >         movements like Nazi-ism square in the eye and try to understand what the
> >         attraction
> > 
> >         must have been. It's a dark kind of attraction, of course, and one sees
> >         a similar
> > 
> >         kind of attraction, I do believe, in the fascination which many people
> >         these days still
> > 
> >         have with guns and weapons of destruction.
> > 
> >         Robert Thomson (www.godwinbooks.com)
> > 
> > 
> > 
> > 
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