I add my voice to those who are surprised to hear a chorus of "Mozart is
boring" from opera-L. It's been my impression that greater exposure to opera
enhances one's love of Mozart, late Verdi (particularly Otello, Falstaff),
Wagner, Strauss and many contemporary operas --those for which a host of
subscribers who sit around me typically sell their tickets to someone else.
Mozart seem to gain their favor sooner thatn the others with Strauss not far
behind. It's a pattern I've observed for some 30 years. Is it intellectual
verses purely emotional involvement? For many these operas don't twist the
gut as directly as the Italian romantic repertoire. The music is more complex
(for Mozart complex even in it's simplicity), the intellect more engaged and
the emotional response eventually richer and profoundly meaningful. Not only
do Mozart operas grow on people but with exposure they leave singing the
recitatives for which the music is so gorgeous they become among the opera's
most beloved moments. To casual opera-goers, I think, enjoy whatever moves
you. To you who are hooked, deeply involved, I wish you wouldn't give up on
great art, the rewards are glorious.
I haven't yet seen the new Nozze but will be attending several performances.
I have trouble from this vantage point understanding how the production could
be less than