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  1. #1021
    Opera Lively Coordinator - Donor Member Top Contributor Member tyroneslothrop's Avatar
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    Quote Originally Posted by Soave_Fanciulla View Post
    I reckon that trumps the "oops I just threw my baby in the fire".
    I've always thought it would have worked better if Azucena had been a blind gypsy since the plot device of wrong baby in fire never worked for me.
    “The hand of Providence creeps among the stars, giving Slothrop the finger.”
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    Opera Lively Coordinator - Donor Member Top Contributor Member tyroneslothrop's Avatar
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    Quote Originally Posted by tyroneslothrop View Post
    Does anyone else get pissed off as I am about these actions by Scott Rose about Anna Netrebko? Why the h*ll should she have to clarify anything to anyone, especially to Mr. Rose?!?! Why should he feel himself entitled to demand anything of her?
    And now a petition
    “The hand of Providence creeps among the stars, giving Slothrop the finger.”
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  3. #1023
    Opera Lively Coordinator - Donor Member Top Contributor Member tyroneslothrop's Avatar
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    “The hand of Providence creeps among the stars, giving Slothrop the finger.”
    ― Thomas Pynchon, Gravity's Rainbow

  4. #1024
    Opera Lively Coordinator - Donor Member Top Contributor Member tyroneslothrop's Avatar
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    “The hand of Providence creeps among the stars, giving Slothrop the finger.”
    ― Thomas Pynchon, Gravity's Rainbow

  5. #1025
    Opera Lively Coordinator - Donor Member Top Contributor Member tyroneslothrop's Avatar
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    “The hand of Providence creeps among the stars, giving Slothrop the finger.”
    ― Thomas Pynchon, Gravity's Rainbow

  6. #1026
    Opera Lively Coordinator - Donor Member Top Contributor Member tyroneslothrop's Avatar
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    “The hand of Providence creeps among the stars, giving Slothrop the finger.”
    ― Thomas Pynchon, Gravity's Rainbow

  7. Likes Luiz Gazzola (Almaviva) liked this post
  8. #1027
    Opera Lively Moderator Top Contributor Member Amfortas's Avatar
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    Quote Originally Posted by Soave_Fanciulla View Post
    Don't you love the "oops I just married a dead nun" ? I reckon that trumps the "oops I just threw my baby in the fire".
    But still can't hold a candle to "oops I just threw my dead nun's baby in the fire."

  9. #1028
    Opera Lively Coordinator - Donor Member Top Contributor Member tyroneslothrop's Avatar
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    Quote Originally Posted by Amfortas View Post
    But still can't hold a candle to "oops I just threw my dead nun's baby in the fire."
    This:

    The opera is in a prologue and one act.

    The story concerns a mute child who never speaks or sings during the work and how his family deals with him and tries to mould him. In the Prologue, his parents and other authority figures hector him, as well as numerous television advertisements. By the end of the Prologue, the mute child's head has exploded.

    In the main act, several surgeons endeavour to reconstruct the child. In so doing, the child is urged to adopt conformist social and religious attitudes. One surgeon dissects the child's brain, and hopes to fix his moral and intellectual faults. Another surgeon works on the dummy's heart, and thus affects the emotional and religious centres. Another surgeon deals with the child's "sexual proclivities" via surgery on the genitals. Eventually, the anti***** appears, with the dummy child "resurrected", who then turns on the surgeons as the phallus metamorphoses into a machine gun, which is directed at the audience as well as the surgeons.
    And here you can get your own copy.

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    “The hand of Providence creeps among the stars, giving Slothrop the finger.”
    ― Thomas Pynchon, Gravity's Rainbow

  10. #1029
    Opera Lively Moderator Top Contributor Member Amfortas's Avatar
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    Quote Originally Posted by Tyronslothorp View Post
    The story concerns a mute child who never speaks or sings during the work and how his family deals with him and tries to mould him. In the Prologue, his parents and other authority figures hector him, as well as numerous television advertisements. By the end of the Prologue, the mute child's head has exploded.

    In the main act, several surgeons endeavour to reconstruct the child. In so doing, the child is urged to adopt conformist social and religious attitudes. One surgeon dissects the child's brain, and hopes to fix his moral and intellectual faults. Another surgeon works on the dummy's heart, and thus affects the emotional and religious centres. Another surgeon deals with the child's "sexual proclivities" via surgery on the genitals. Eventually, the anti***** appears, with the dummy child "resurrected", who then turns on the surgeons as the phallus metamorphoses into a machine gun, which is directed at the audience as well as the surgeons.
    Cool.

    And see? Operas *always* need machine guns.

  11. #1030
    Opera Lively Coordinator - Donor Member Top Contributor Member tyroneslothrop's Avatar
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    Quote Originally Posted by Amfortas View Post
    Cool.

    And see? Operas *always* need machine guns.
    Whoa! Baby steps. First let's give Deborah Voigt a machine gun instead of that pea shooter:

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    “The hand of Providence creeps among the stars, giving Slothrop the finger.”
    ― Thomas Pynchon, Gravity's Rainbow

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  13. #1031
    Opera Lively Coordinator - Donor Member Top Contributor Member tyroneslothrop's Avatar
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    Quote Originally Posted by tyroneslothrop View Post
    More on the boovation at Bayreuth, and you can even witness it yourself in video: (boovation starts at 0:11)

    “The hand of Providence creeps among the stars, giving Slothrop the finger.”
    ― Thomas Pynchon, Gravity's Rainbow

  14. #1032
    Opera Lively Coordinator - Donor Member Top Contributor Member tyroneslothrop's Avatar
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    Neil Fisher's London Times review of Castorf's Ring:

    Siegfried / Götterdämmerung at Bayreuth Festival

    Neil Fisher
    Published at 12:01AM, August 2 2013

    (Two stars out of five)

    If the contents of Frank Castorf’s Bayreuth Ring production came up for auction, they would make a strange job lot. A stuffed duck. Two plastic crocodiles. A bowl of spaghetti. A suitcase full of sand. A pram full of potatoes.

    Dissecting Bayreuth’s bicentenary Ring like this might even be the most logical way to do it. If you actually follow any of Castorf’s clues, they are thrown back in your face. Pick a road: none seem to lead anywhere. Except perhaps the deliberately banal and anticlimactic ending to it all.

    After a sleazy, guiltily enjoyable Das Rheingold, and a musically convincing Walküre, this Ring nosedived. Two activities seem to fire Castorf’s enthusiasm: drinking and humping. So there was a lot of both on stage. Even the plastic crocodiles were bonking during Siegfried and Brünnhilde’s final duet in Siegfried. Erda gave Wotan both advice and a blow job. The Rhinemaidens returned in Götterdämmerung in a luxury convertible, and were soon winding their legs around Siegfried and Gunther in a menage à cinq that Silvio Berlusconi would have called de trop.

    This priapic Ring might have passed muster if Castorf could, er, keep it up — but so much of it was half-hearted and anaemic.

    Aleksandar Denic’s ingenious sets included a Mount Rushmore take-off with giant heads of Communist heroes (Siegfried), and a multilevel factory featuring a kebab house and the facade of the New York Stock Exchange (Götterdämmerung). They might as well have evoked the Gobi Desert or Alton Towers for all the light they shed on the action. The video projections, intriguing in Rheingold, dwindled into irrelevance.

    Nothing should detract from Kirill Petrenko’s beautifully nuanced conducting: he finds the detail in Wagner’s long paragraphs but keeps the flow: never bombastic, the Bayreuth orchestra nonetheless had moments of shattering power, alongside equally remarkable, almost Mendelssohnian, delicacy.

    Yet something is very wrong when the best singers in Götterdämmerung are Gunther (Alejandro Marco-Buhrmester) and the First Norn (Okka von den Damerau). Lance Ryan’s strangulated Siegfried was an ordeal. Attila Jun’s hammy Hagen rasped rather than sang. And the British Brünnhilde, Catherine Foster, never hit her stride: her middle voice lacks weight and she sang persistently under the note. A stronger dramatic presence might have compensated, but having dumped her in a series of ghastly frocks, Castorf more or less abandoned her to wander blankly around the stage.

    This careless Ring should ring alarm bells. It also highlights the poverty of Bayreuth’s bicentenary celebrations. This summer, of all summers, the Festspielhaus that the composer designed remains under wraps, pending restoration, while Wagner’s house is, scandalously, still a building site. If the composer’s great-granddaughters cannot guard Wagner’s physical or artistic legacy, why are they in charge of the festival?
    “The hand of Providence creeps among the stars, giving Slothrop the finger.”
    ― Thomas Pynchon, Gravity's Rainbow

  15. #1033
    Opera Lively Coordinator - Donor Member Top Contributor Member tyroneslothrop's Avatar
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    “The hand of Providence creeps among the stars, giving Slothrop the finger.”
    ― Thomas Pynchon, Gravity's Rainbow

  16. #1034
    Opera Lively Coordinator - Donor Member Top Contributor Member tyroneslothrop's Avatar
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    Words of absolute genius. I agree with it all!
    Wagner, Texas and Myth
    “The hand of Providence creeps among the stars, giving Slothrop the finger.”
    ― Thomas Pynchon, Gravity's Rainbow

  17. #1035
    Opera Lively Coordinator - Donor Member Top Contributor Member tyroneslothrop's Avatar
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    Quote Originally Posted by tyroneslothrop View Post
    ...almost as dangerous as the opera stage!
    “The hand of Providence creeps among the stars, giving Slothrop the finger.”
    ― Thomas Pynchon, Gravity's Rainbow

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