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Subject: Re: Stunned After Last Few Measures of an Opera
From: donald kane <[log in to unmask]>
Reply-To:donald kane <[log in to unmask]>
Date:Mon, 3 Dec 2018 15:34:55 -0500
Content-Type:text/plain
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text/plain (152 lines)


Cheer up; there are undoubtedly many experienced opera-goers, like me,
who do not seek an emotional charge from each and every sublime moment
great composers have created,  We applaud, or sigh, or smile, or whistle,
but the ultimate satisfaction is just that - satisfaction.  If you consult
a good
dictionary;  you may discover it is not healthy to be stunned too often.

dtmk

On Mon, Dec 3, 2018 at 3:14 PM Michael Blauner <[log in to unmask]>
wrote:

> I read a great deal of sadness your choices for electrifying moments in
> opera. First, I agree completely with all your choices. Like Mr. Rideout
> (the Socrates of Opera-L!), I will keep my choices to myself. Now, why am I
> sad? I am depressed because all of these moments are so emotionally charged
> they go to the very depths of our souls. Today, any internet user can learn
> about opera. They can earn enough that they can attend a live performance
> of opera wherever they live. And where are they? A marvelous topic such as
> this one should have had a much larger response. I thank you who answered
> but I still ask, "Where are the ones who have neglected this remarkable
> medium?"Michael L. Blauner, [log in to unmask]
>
>     On Monday, December 3, 2018 11:18 AM, robert levine <
> [log in to unmask]> wrote:
>
>
>  Good catches - I agree about Parsifal and Chenier. Exhausted and
> transformed. Mef is great, but it's really just loud (not that there's
> anything wrong with loud!)
> B
>
> On Mon, Dec 3, 2018 at 10:58 AM G. Paul Padillo <[log in to unmask]>
> wrote:
>
> > GREAT topic!
> >
> > The Epilogue to Mefistofele the final bars – leave me in an almost
> > ecstatic, stunned state –
> > the hair on the back of my neck, and on my arms raised as if by
> > electricity.
> >
> > Other endings affect me similarly, most notably Parsifal, which leaves me
> > open mouthed and
> > with my heart full of wonder.  The final 2 minutes of Die Meistersinger
> > leave me in an
> > ecstatic state of joy so intense I often feel like I’ll explode from the
> > sheer joy.
> >
> > Not the final act, but the end of Act IV of Pelleas finds my pulse
> beating
> > and wanting to
> > scream, “No!” as Pelleas slumps to his death, and Melisande cries out,
> “Je
> > n'ai pas de
> > courage, Ah!” as she flees from the murderous Golaud.
> >
> > The finales of both Tabarro and Angelica leave me gasping – but in two
> > entirely different
> > ways.
> >
> > The end of Turandot only in the complete Alfano ending, with the original
> > orchestration and
> > Turandot and Calaf’s voices soaring over the ensemble.  Thrilling and
> > electrifying.
> >
> > Speaking of “electrifying” the end of Elektra does one helluva number on
> > me in that regard,
> > as well.
> >
> > There are many others, but I’ll cite just one more – the final pages of
> > “Andrea Chenier”
> > wrecks me in multiple ways;  my heart and soul are filled with despair
> yet
> > also hope, and
> > the belief that despite the bloody horror surrounding them, Chenier and
> > Maddalena are
> > already occupying a realm beyond our world.
> >
> > p.
> >
> >
> >
> > * * * * * * * *
> >
> > On Sat, 1 Dec 2018 18:26:14 -0500, Paul Ferraro <[log in to unmask]>
> > wrote:
> >
> > >For me, Mefistofele, A. Chenier & Peter Grimes (with Vickers, that is)
> > >leave me stunned as though shot by a taser gun.  Does anyone else
> > >experience these feelings with certain works?
> >
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