Opera Small Talk

**emiellucifuge** · March 28th, 2012, 07:34 AM

Ive been listening and reading Parsifal for a while now trying to really understand the opera and its message, and I feel like Ive developed a pretty good 'grand unifying theory' which explains most of it. Its all to do with Schopenhauer as most people know.

This detective work is pretty fun, anyone need an opera deciphered?

**Almaviva** · March 28th, 2012, 01:42 PM

You can post your thoughts about it in, say, the Opera and Psychoanalysis forum - it should be renamed Opera and Symbolism or something like that, I'll think of changing the forum name later.

**Amfortas** · March 28th, 2012, 07:58 PM

Originally Posted by emiellucifuge

Ive been listening and reading Parsifal for a while now trying to really understand the opera and its message, and I feel like Ive developed a pretty good 'grand unifying theory' which explains most of it. Its all to do with Schopenhauer as most people know.

This detective work is pretty fun, anyone need an opera deciphered?

Why don't you go on to the Ring? That should keep you busy for a while.

**emiellucifuge** · March 28th, 2012, 08:01 PM

Ill post my stuff on the forum once Ive collected all my evidence together and made a coherent argument.

**Anne of Green Gables** · March 29th, 2012, 10:01 PM

At the year's end of 1953, during the performance of Wally together with Renata Tebaldi at La Scala Theater in Milan, the newspapers came out with astonishing news.Irene Mayer, a young American blind woman from the state of Maryland, claimed that she was able to see when Mario was singing. But when Mario left the stage, the girl's apparent "vision" reverted back to complete darkness. During his singing she gave a detailed description of the tenor on the stage, indicating his position, how he was dressed along with a description of his acting.The blind girl was able to see when Mario sang.She first experienced this phenomenon when she attended a performance of Aida at the Metropolitan by Mario Del Monaco and at one point she cried out aloud, "I can see the tenor!" She was able to describe him in detail, but only when he sang on the stage.

The phenomenon didn't occur listening to a recording or watching a videotape.Nonetheless, since she lost her sight in 1949, attending a performance by Del Monaco became her reason for living; she considered that experience as a source of inspiration and encouragement because she regarded Mario as a honest and genuine person.
Doctors considered her case carefully and reached the conclusion that the girl was indeed able to see but weren't able to explain why. But, all concerned agreed that music and Del Monaco's singing had performed a miracle.

(from http://www.mariodelmonaco.net/)

**MAuer** · April 2nd, 2012, 06:39 PM

Some interesting items from a recent interview Jonas Kaufmann gave to the Welt am Sonntag:

- He's decided not to always make himself available at the stage door after a performance to sign autographs. This isn't some divo affectation; he's finally realized that, unfortunately, his accessibility to his fans also exposes him to a lot of germs, viruses, and the like and puts him at risk for catching whatever cold or flu bug is making the rounds. He says he knows this decision will disappoint some people, but people are also disappointed when he must cancel appearances because of illness.

- He wouldn't comment on rumors that he may be leaving Decca to join Sony. He did point out that another solo album with Decca is in the planning stages. He also confirmed that a recording of Aida is planned, with Sir Tony Pappano conducting. Draculette is supposed to sing the title role (according to her, not Kaufmann). However, he didn't mention which label will release this recording. His Madama Butterfly with Gheorghiu and Pappano was recorded for EMI.

- He mentioned that he has already signed contracts to sing the major tenor roles in Il Trovatore, Il Ballo in Maschera, and La Forza del Destino. The first-named, of course, will be with the Bavarian State Opera in their 2012-2013 season. He also said he has a total of six premieres planned with Munich, and "almost all" of them will have Anja Harteros as his leading lady.

**treemaker** · April 2nd, 2012, 10:02 PM

News from Seattle:

On opening night of the new production of Madama Butterfly, Seattle Opera is doing its first ever HD simulcast. They will supply potentially 8,000 people with viewing of the opera on a 50 x 80 foot screen. If you know Seattle, it's taking place at Key Arena. Today's Seattle Opera Blog just made the announcement. Check this out, and yes, there is a picture of the arena and viewing screen: here

**Almaviva** · April 7th, 2012, 03:05 AM

Wow, nice, pretty impressive venue.

I'd want to know how many people will attend, though - just to gauge popularity of opera in America these days.
If you get the information, please let us know.

**Anne of Green Gables** · April 12th, 2012, 07:30 PM

I've just learned that Warsaw Chamber Opera has suddenly fell into danger of perishing after considerable cuts in state funding, probably related to expenses for Euro 2012. I've signed petition in it's defense, there are also "against" signs, you may find those WHY SHOULD OPERA BE FUNDED FROM MY TAXES I NEVER GO TO OPERA I'M NOT SOME CRAZY BOURGEOIS geezers everywhere. Too bad, it was (and hopefully will be) quite a venue, with solid standards and international prestige, also with remarkable achievement of staging all Mozart's operas (along with other supporting concerts) during special summer festival.

**Soave_Fanciulla** · April 13th, 2012, 07:26 AM

Originally Posted by Aramis

I've just learned that Warsaw Chamber Opera has suddenly fell into danger of perishing after considerable cuts in state funding, probably related to expenses for Euro 2012. I've signed petition in it's defense, there are also "against" signs, you may find those WHY SHOULD OPERA BE FUNDED FROM MY TAXES I NEVER GO TO OPERA I'M NOT SOME CRAZY BOURGEOIS geezers everywhere. Too bad, it was (and hopefully will be) quite a venue, with solid standards and international prestige, also with remarkable achievement of staging all Mozart's operas (along with other supporting concerts) during special summer festival.

That's a bummer Aramis. Let's hope it get a reprieve.

**MAuer** · April 13th, 2012, 06:47 PM

The April issue of Opernwelt contained a paragraph noting that the prosecutor's office in Hof has recently closed its investigation into the distribution of complimentary tickets to the Bayreuth Festival after reaching the conclusion that no laws had been violated. The investigation had been initiated last summer after complaints from the public and in the press about a "not inconsiderable number" of such tickets being distributed by the Festival management. The investigation found that 70% of all available tickets were still being offered to the public for purchase; the bulk of the "freebies" were being given to media representatives who covered the Festival. The remaining 104 complimentary tickets (.18%) were given by the Festival management to individuals who, through their presence alone, were viewed as "advertisements" for the future popularity of the Festival.

My thoughts:
- I wonder if giving free tickets to media reps is standard practice at opera houses and concert venues. It would seem that accepting such freebies could be viewed as compromising a reviewer's objectivity. Or is this simply viewed in the same capacity as providing press passes for the media to sporting events?

- Since when was the Bayreuth Festival concerned about its future popularity? Does anyone really believe this is in jeopardy? While the total percentage of free tickets given to these VIPs is miniscule, I'm still bothered by the idea that such items are being distributed to persons who are undoubtedly very well able to afford Festival tickets -- and probably the best seats in the house, at that. The handouts are going to some individuals who are in least need of them.

**treemaker** · April 14th, 2012, 01:40 AM

Here is my latest Thomas Hampson post. Tom has traveled to South Africa to team up with Zulu a capella choir "Ladysmith Black Mambazo". The resulting documentary will be aired on television. They taught him one of their songs, and then he taught them a Stephen Foster song out of his "Song of America" repertoire.

There is a small article and I think a youtube video: here

**Almaviva** · April 14th, 2012, 05:32 AM

Originally Posted by MAuer

My thoughts:
- I wonder if giving free tickets to media reps is standard practice at opera houses and concert venues. It would seem that accepting such freebies could be viewed as compromising a reviewer's objectivity. Or is this simply viewed in the same capacity as providing press passes for the media to sporting events?

I'm very new to the business of opera journalism, but my goal is to always pay for my tickets in order to maintain journalistic independence (and that's what I've been doing, including for the performances of the five opera-producing organizations with whom we have official partnership agreements). Accepting a free ticket does create an awkward conflict of interest, in case the journalist then doesn't like the performance and needs to publish an unfavorable review.