On Oct 25, 12:45 am, Oscar <oscaredwardwilliam...@gmail.com> wrote:
> Gluck: Armide, tragic opera in five acts [...]Keeping with the opera thing and also wishing it were still October
(or any time before the current surfeit of excessively operatic
I've been listening to Hector Parra's Hypermusic Prologue, a sort of
"The two characters, a soprano and a baritone, live on the same stage
"The baritone's half of the stage, a static world of concrete objects
(But in a totally unstylish gray suit. My operatic comment: I would
"At times, Parra's score is a collection of disjointed noises. It is
Which means that I like it. I'll certainly take this, although I
The music is not as unmanageable or disjointed as the quoted paragraph
In any case, I found this entire opera enjoyable. It's on spifity, in
PS. I just noticed that David G. wrote about this opera in May (sorry,
> In the opera, the soprano, a composer and scientist, imaginesYeah -- the libretto (written by the physicist Lisa Randall) isn't all
> experiencing other dimensions beyond the four we’re accustomed to,
> thereby alienating the skeptical, mystified, and all too passionate
> baritone, who is in love with her. The soprano’s sounds are digitally
> modified in real time and space, surrounding the baritone, whose
> singing is not transformed.
> As for the quality of the text itself, it
> strikes me as naïve—although by no means too naïve to serve the
that multidimensional. Actually, it's pretty mundane. :) Otoh, maybe
poetry is not quite her main metier. That she wrote an opera libretto
is good in itself.
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