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Subject: Re: Perfection in Opera
From: Stephen Charitan <[log in to unmask]>
Reply-To:Stephen Charitan <[log in to unmask]>
Date:Fri, 10 Aug 2018 12:19:12 -0400
Content-Type:text/plain
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Marguerite was arguably Garbo's greatest role, and lucky any soprano that
could come close to this even with Verdi giving her his all.  MGM did Garbo
no favors by pitting her against the garbled, sleepwalking Lionel
Barrymore.  At that point he may have been on a variety of medications from
severe arthritis compounded by a broken hip.  Henry Daniell's Baron de
Varville  is the only one in the movie that sparks on anything close to her
level...I might even go so far as to say he was one of the best actors she
played off of in her entire career.

On Fri, Aug 10, 2018 at 10:40 AM, tom ponti <[log in to unmask]> wrote:

> 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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