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Subject: Re: Perfection in Opera
From: tom ponti <[log in to unmask]>
Reply-To:tom ponti <[log in to unmask]>
Date:Fri, 10 Aug 2018 14:40:01 +0000
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One great example of this is comparing the Germont-Violetta confrontation to Camille-Germont scene in the movie. Garbo and Lionel Barrymore, great screen actors as they were, made little of the scene compared to what any good opera singers could do in the opera. Great music and singers bring out the ultimate drama and compassion of any great play or novel. Otello, IMO, is far superior drama wise than Othello. The same is true of Romeo and Juliet and other great dramas. Just a personal opinion, accurate or not


________________________________
From: Discussion of opera and related issues <[log in to unmask]> on behalf of Bob Rideout <[log in to unmask]>
Sent: Friday, August 10, 2018 10:16 AM
To: [log in to unmask]
Subject: [OPERA-L] Perfection in Opera

For me, and I imagine for many others, that which might rightly
be dismissed as nonsense in opera libretti is often redeemed by
great singers who understand that there are universal truths in
those silly dramatic devices, and who know how to convey those
emotions in purely vocal terms.

Composers as great as Verdi, often used stories as nothing more than
vehicles (excuses) for superb music whose emotional content
can bring gasps from audiences who might, in a non musical setting,
laugh it and those performing it, off the stage.

My list of 4 sort of perfect operas, Boheme, Falstaff, Figaro and
Meistersinger, are my idea of an ideal coming together of text
and music, but the silliness of, say, Trovatore, can be and often
is equally effective when singers are able to express its content
with affection and conviction.

So it is, and so it has always been - for most of us, music and its
power to engage our own emotions are paramount.

Bob

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