You're welcome, Andi. Certainly.
•
I cannot, in good conscience though, express love for this opera. Sure, it's a massive cast (when THis opera is playing cast & crew are working), and the composition as a whole is masterclass: tenor and soprano aria vocal instruments. Also the risk to reward that the lead soprano puts herself through here is nothin' short of a heroic dose. So, respects!!
David mentioned how his understanding of German opera wasn't up to par when he was a young man (taking L.A. to task, with a beat). But, on the other hand, Hans Zimmer had that young man on the payroll in that same decade or so ..So I'm confident it's my own lack of "understanding" of opera that says: take messy's impressions as sincere, but with a coarse grain of Himalayan pink salt.
Because I read an act-by-act synopsis (& DB's interpretation) I got the gist o the story ..But to my eye the set didn't play to me as was intended. Terrible. Industrial. Like night-time at a coal mine ..or a war ruins in the dark. In a word: grotesque. A big set's great big grouchy brother who doesn't bathe ..ever.
I try to enjoy soccer (football) 'cos it's a worldwide pastime. Extraordinary athleticism --- like watching popcorn pop. The opera is like popcorn pop. Popcorn popping in 100,000 mile unchanged grainy black motor oil, profuse, of filth & soot.
On the flipside of this experience (that of a relative simpleton in comparison to a world class composer with an unmatched & impeccable back catalog) please take Puccini's "Turandot" as a for instance comparison..
Sure they're both realism/hardship narratives. Because of the time period Puccini's stories are kinda simple for today's max overload on our desensitized minds. Except for having read the libretto, I don't understand a word they're singing ..But if the mood is right I'll well-up no less than once before curtain. The composition moves me 'til the curtain falls. I mean, Andi, can I say I deeply feel the vibe? When in a (rare) mood for arias, Puccin jus fills up my cup ---
I'll usually have Here Comes The New Folk Underground or Hellbound Train or TRIAGE looped along w/other troubadour songwriters more often, but an aria VOX by a lovely soprano fills those holes that come creeping in from time to time:
Kinda like watching Holly Hunter's "Dorinda" descending from upstairs in her gifted white dress in "Always (1989)"..
..Jus wells me up! & as a widower from a (no-shidt deep dive so) deeply lived 25 year marital odyssey, it seems t' me to be the closest thing to "that feeling" that I can ask for anymore from civilization. Not unlike what "Born For Love" does to this ol' fella, still (even after how many hundreds of listens), to churn-up my emotions. Sigh.. Yeah yeah, still an ol' sap.
So because DB put the suggestion out into this driftnet we call dbis, and because of the peripheral recordings of Moon of Alabama & the back stories therein, I made it all the way through Rise and Fall of the City of Mahagonny. But hey..
All the way through, men in shirt & tie & unzipped flys, and women in underwear & noir & caricaturized defamation of V character, thick black soot & bare afoot, recieving an epic-dull dry-humping. Like a pro actor with vocal prowess is tasked to do while singing chorus: in order to drive home the feeling of, oh say, a Catholic Nazi Nunn (hog tying an oiled subordinate or brow [beating] the Lakota Sioux outta the child) sense of the order of things. The looming of just another dark age of man, in lieu o something far richer we safe-harbor in hope.
Re: Another share, sort of
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intellectually masturbatin while the radio was playin
You're welcome, Andi. Certainly.
•
I cannot, in good conscience though, express love for this opera. Sure, it's a massive cast (when THis opera is playing cast & crew are working), and the composition as a whole is masterclass: tenor and soprano aria vocal instruments. Also the risk to reward that the lead soprano puts herself through here is nothin' short of a heroic dose. So, respects!!
David mentioned how his understanding of German opera wasn't up to par when he was a young man (taking L.A. to task, with a beat). But, on the other hand, Hans Zimmer had that young man on the payroll in that same decade or so ..So I'm confident it's my own lack of "understanding" of opera that says: take messy's impressions as sincere, but with a coarse grain of Himalayan pink salt.
Because I read an act-by-act synopsis (& DB's interpretation) I got the gist o the story ..But to my eye the set didn't play to me as was intended. Terrible. Industrial. Like night-time at a coal mine ..or a war ruins in the dark. In a word: grotesque. A big set's great big grouchy brother who doesn't bathe ..ever.
I try to enjoy soccer (football) 'cos it's a worldwide pastime. Extraordinary athleticism --- like watching popcorn pop. The opera is like popcorn pop. Popcorn popping in 100,000 mile unchanged grainy black motor oil, profuse, of filth & soot.
On the flipside of this experience (that of a relative simpleton in comparison to a world class composer with an unmatched & impeccable back catalog) please take Puccini's "Turandot" as a for instance comparison..
Sure they're both realism/hardship narratives. Because of the time period Puccini's stories are kinda simple for today's max overload on our desensitized minds. Except for having read the libretto, I don't understand a word they're singing ..But if the mood is right I'll well-up no less than once before curtain. The composition moves me 'til the curtain falls. I mean, Andi, can I say I deeply feel the vibe? When in a (rare) mood for arias, Puccin jus fills up my cup ---
I'll usually have Here Comes The New Folk Underground or Hellbound Train or TRIAGE looped along w/other troubadour songwriters more often, but an aria VOX by a lovely soprano fills those holes that come creeping in from time to time:
Kinda like watching Holly Hunter's "Dorinda" descending from upstairs in her gifted white dress in "Always (1989)"..
..Jus wells me up! & as a widower from a (no-shidt deep dive so) deeply lived 25 year marital odyssey, it seems t' me to be the closest thing to "that feeling" that I can ask for anymore from civilization. Not unlike what "Born For Love" does to this ol' fella, still (even after how many hundreds of listens), to churn-up my emotions. Sigh.. Yeah yeah, still an ol' sap.
So because DB put the suggestion out into this driftnet we call dbis, and because of the peripheral recordings of Moon of Alabama & the back stories therein, I made it all the way through Rise and Fall of the City of Mahagonny. But hey..
All the way through, men in shirt & tie & unzipped flys, and women in underwear & noir & caricaturized defamation of V character, thick black soot & bare afoot, recieving an epic-dull dry-humping. Like a pro actor with vocal prowess is tasked to do while singing chorus: in order to drive home the feeling of, oh say, a Catholic Nazi Nunn (hog tying an oiled subordinate or brow [beating] the Lakota Sioux outta the child) sense of the order of things. The looming of just another dark age of man, in lieu o something far richer we safe-harbor in hope.
intellectually masturbatin while the radio was playin
