By M. Owen Lee
Father Owen Lee is across the world recognized for his intermission commentaries featured throughout the Saturday afternoon publicizes from the Metropolitan Opera condo in ny. A Season of Opera: From Orpheus to Ariadne gathers jointly for the 1st time Father Lee's most sensible broadcast and cassette commentaries, public lectures, and articles on twenty-three works for the musical level. The essays diversity from the pioneering Orpheus of Monteverdi to the forward-looking Ariadne of Richard Strauss. integrated are Father Lee's well-known discussions of Mozart's Magic Flute and Beethoven's Fidelio , Verdi's l. a. Traviata and Falstaff , Wagner's Tristan und Isolde , and Poulenc's Dialogues of the Carmelites . The concluding bankruptcy, initially released because the lead article within the Opera Quarterly 's detailed factor at the finish of the 20th century, is a thought-provoking forecast of opera's destiny. thoughts for additional interpreting, CD recordings, and movies also are integrated. Opera Canada has applauded Father Lee's 'extraordinary skill to have interaction, problem, and enlighten an unlimited and numerous audience' and known as his learning-worn-lightly commentaries 'a specific mixture of non secular empathy, classical scholarship, and mental insight.' Opera fanatics, or somebody attracted to psychology and mythology, humanities and comparative literature, or the paintings of the essay will welcome this e-book.
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Additional resources for A Season of Opera: From Orpheus to Ariadne
The child learns to speak, to experience, to find other relationships - most importantly, with a new, commanding figure, the father Psychologists distinguish between mother and father principles. The mother, physical source of being, is nature. The father, a new and separate influence, is culture, discipline, and law. The mother's love is typically protective and lavished unconditionally on the child. The father's is won through obedience to commandments. The child normally progresses from the mother to the father and reaches maturing when he - or she - achieves a synthesis of maternal intuition and paternal reason in himself- or herself.
With Mozart, even the most sublime moments are luminous and light: especially those moments when the sweet uses of reason are sung by three intuitive angels - the three boys, sailing in their heavenly chariot, leading us onwards. It was Karl Earth, I believe, who said that when the angels play for God they play Bach, but when they play for themselves, they play Mozart. I like to think that on those occasions God listens in. Secretly. 5 Music to Set the Spirit Free Fidelio A few years ago I saw Fidelio at the Met, from the top of the Family Circle, where you can see an opera for the price of a movie.
In Morike's story, Mozart tells his listeners that only when he had finished composing this scene did he realize that his candle had burnt out in his hand, leaving it coated with wax. He entertained for a chilling moment the idea of his own death. But that is, again, a serious nineteenth-century view of Don Giovanni. The eighteenth century did not end the opera there. It wanted the vaudeville Mozart appended to that death scene - the charming ending wherein life returns to normal for the other characters, who advance in turn to the footlights and speak to the audience directly.