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Subject: Re: Stunned After Last Few Measures of an Opera
From: Sylvia <[log in to unmask]>
Reply-To:Sylvia <[log in to unmask]>
Date:Mon, 3 Dec 2018 16:44:38 -0800
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I've often been fascinated by Musical  Chills such as described by Paul Padillo below and for him brought on by the final moments of Mefistofele.  Here's an article that relates a comparative study of the brains of people who experience musical chills vs those who haven't. Our brains are different!  Not to mention that some describe the sensation as an orgasm of the skin.

https://www.smithsonianmag.com/smart-news/researchers-look-what-happens-brain-when-music-causes-chills-180959481/

I haven't been able to attend live opera for some years now because it's impossible for me to sit that long so it's been awhile since I experienced those musical chills, but the last time was particularly unforgettable, Alfredo Kraus singing the famous tenor aria in Werther,  Pourquoi me réveiller,  at San Francisco Opera.  Renata Scotto was his soprano partner.  I even bought a ticket to see it twice.

Jan
Sent from my iPhone

> On Dec 3, 2018, at 7:58 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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