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Subject: Re: Stunned After Last Few Measures of an Opera
From: Jon Goldberg <[log in to unmask]>
Reply-To:Jon Goldberg <[log in to unmask]>
Date:Tue, 4 Dec 2018 14:36:38 -0500

text/plain (35 lines)

The first time I heard Butterfly as a youngster (maybe 12 or 13 at this point) just starting 
to get into opera, it was via a recording (it may have been the 2nd De Los Angeles one, 
but I'm not positive about that). I knew the basic plot, and knew what the ending would 
be, but nothing prepared me for the sheer musical wallop of Butterfly's final aria to her 
son, etc. I will admit that I found myself crying afterward - not just shedding a few tears, 
but a full-on real hard crying spell which truly surprised me at that age. That final scene 
still has the power to move me so much, even if maybe I'm not quite as spooked by it as 
I was that first time. But in particular, even knowing full well what goes into the craft of 
being an actor/singer and having to deal with dramatic moments of raw, enormously 
heightened emotions without letting it get too personally "hot," I always marvel in 
particular at sopranos who are real-life mothers, especially mothers with younger children 
- how difficult must it be to have to sing this scene without falling apart? 

On Tue, 4 Dec 2018 13:22:46 -0500, donald kane <[log in to unmask]> wrote:

>The ending of MADAMA
>BUTTERFLY...the more I think
>about it, continues to be uniquely qualified in its power to stun,
>in an almost literate definition of the word.  

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