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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:Tue, 4 Dec 2018 08:44:50 -0500
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Have you ever considered what it means to be stunned?   What would
the life expectancy be of an opera goer who experienced such a thing
as often as your list suggests?  Or have we, yet again, abandoned the
sense of the topic?  "Stunning" as an adjective has come to have about as
much meaning as "iconic".  One list had both DIE MEISTERSINGER and
PARSIFAL: the ending of the first is glorious beyond belief, and of the
second, awesome beyond belief, but what else do they have in common
except an inevitability so carefully crafted that no other outcome is even
imaginable if we are still talking about music.  In some cases, are we
really  not talking about what was once called,  le coup de theatre?

dtmk

On Tue, Dec 4, 2018 at 4:33 AM rjcardinalli <[log in to unmask]> wrote:

> Der RosenkavalierAriadne auf NaxosVanessaLouise Dialogues des
> CarmelitesManonBluebeard's Castle
> .....and so many others
>
>
> Sent from my Samsung Galaxy smartphone.
> -------- Original message --------From: David Groettum <[log in to unmask]>
> Date: 04/12/2018  07:08  (GMT+02:00) To: [log in to unmask]
> Subject: Re: Stunned After Last Few Measures of an Opera
> I agree with all of the above mentioned especially Dialogues des
> Carmélites. One scene I want to go on forever is the final duet of Ariadne.
> I saw it in Des Moines with Lise Lindstrom in a 350 seat theatre and was
> overwhelmed.
> I had the same reaction in the larger Ordway in St. Paul with Amber Wagner
> a couple of years ago. It is truly magical.
>
> David Groettum
>
> On Mon, Dec 3, 2018 at 10:33 PM Max Paley <[log in to unmask]> wrote:
>
> > Two operas whose endings struck me as being both very moving and also
> > created an impression that haunted me for a long time after, particularly
> > the first time I saw them, are “Aida” and “Jenufa.”
> >
> > In the house, there’s something about how, after all the power and drama
> > and pageantry of “Aida,” there is something magical about the way the
> > lovers settle into a beautiful but restrained resignation with pianissimo
> > high notes and chromaticism so that rather than walloping you, the opera
> > seems to just float away.
> >
> > After the harrowing confession of Kostelnicka climaxing an act that has
> > already been tense from the get-go and with the grandeur of Jenufa’s
> > forgiveness, the change and sense of being uplifted that comes with the
> > final duet between Jenufa and Laca is both striking and original.
> >
> > In a good performance, the ending of Act 2 of “Die Frau ohne Schatten”
> can
> > leave an audience stunned. I remember the San Francisco 1976 with
> Rysanek,
> > Schröder-Feinen, Berry, etc. conducted by Böhm for which an audience,
> many
> > of whom hadn’t seen the opera live before, were catatonic and slow to
> > applaud but, once they fully regained their senses, were screaming. The
> end
> > of the final act doesn’t seem to make the same impact.
> >
> > Max Paley
> > **********************************************
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