Eurotrash definition
Singer709
thought I'd share it. You're welcome to add to the list, or comment.
Houston Press (c) by D.L. Groover
Euro-trash staging requires the following:
1) Leather in any form.
2) Sexual shenanigans among uncomfortable principals.
3) Mismatched costumes from a variety of eras and cultures.
4) A set design that includes something broken -- usually Ionic
pillars or gigantic statues, especially in the works of Handel or
Mozart.
5) Unnatural lighting, as if a backstage electrician tripped and
pulled out a plug at an inopportune moment.
6) Characters doing things on stage that no human you've ever known
would do.
I especially liked #4 - A set design that includes something broken.
REG
"Singer709" <s...@waas.us> wrote in message
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Michael Hetsko
"REG" <Rich...@hotmail.com> wrote in message
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> Sounds like the upcoming Democratic convention in New York.
>
Boston.
lav...@webtv.net
All costumes must be black.
No furniture is allowed on stage.
Someone must wear a samurai costume.
There must be a box somewhere on stage.
The singers must never, ever look at each other, especially when they
are in a scene together.
The original libretto and stage directions must never, ever be
consulted.
Someone must wear a leather jockstrap.
The Old Bag
> >
> > Euro-trash staging requires the following:
> >
> > 1) Leather in any form.
> > 2) Sexual shenanigans among uncomfortable principals.
> > 3) Mismatched costumes from a variety of eras and cultures.
> > 4) A set design that includes something broken -- usually Ionic
> > pillars or gigantic statues, especially in the works of Handel or
> > Mozart.
> > 5) Unnatural lighting, as if a backstage electrician tripped and
> > pulled out a plug at an inopportune moment.
> > 6) Characters doing things on stage that no human you've ever known
> > would do.
And of course, the Americans are oh so pure and non trash....
Gertie
J.Venning
news:bb8f2b50.04022...@posting.google.com...
> And of course, the Americans are oh so pure and non trash....
> Gertie
Oh, when did you discover that?
J.
REG
I was just thinking of the protesters in New York....
Wasn't that obvious :))
"Michael Hetsko" <opera...@hetsko.com> wrote in message
news:2yd0c.10561$08.35...@news4.srv.hcvlny.cv.net...
Jim Burdett
western culture.
"Singer709" <s...@waas.us> wrote in message
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Terrymelin
>
>1) Leather in any form.
>2) Sexual shenanigans among uncomfortable principals.
>3) Mismatched costumes from a variety of eras and cultures.
>4) A set design that includes something broken -- usually Ionic
>pillars or gigantic statues, especially in the works of Handel or
>Mozart.
>5) Unnatural lighting, as if a backstage electrician tripped and
>pulled out a plug at an inopportune moment.
>6) Characters doing things on stage that no human you've ever known
>would do.
>
>I especially liked #4 - A set design that includes something broken.
That seems to pretty much cover it. Thanks for sharing.
Terry Ellsworth
Terrymelin
I think that is being held in Boston, no?
Terry Ellsworth
Terrymelin
>
>Gertie
From someone called "The Old Bag?"
Michael Hetsko
> Well, you're factually correct, of course....
> I was just thinking of the protesters in New York....
> Wasn't that obvious :))
>
The way things are going for Bush now, there may well be some Republican
protesters there too.!!! (Of course, they'll have to import them in from
outside the city)
REG
New York.
"Terrymelin" <terry...@aol.com> wrote in message
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Leonard Tillman
Furthermore, anyone who doesn't believe it can just ask 'em.
>Gertie
LT
Singer709
The Samurai costume and the box on stage are both mandatory, as we all
know. Good additions.
Singer709
Gertie, Americans are equally guilty. It's just that the term
"Eurotrash" has become definitive for this type of production. There
are Eurotrash devotees on both sides of the ditch. Believe me, I've
seen them.
J.Venning
You folks seemed to have forgotten the obligatory battle camo-dressed,
submachine-gun-toting, big-breasted, blond girl. We always have 'em.
J.
The Old Bag
> >And of course, the Americans are oh so pure and non trash....
> >
> >Gertie
>
> From someone called "The Old Bag?"
Meaning WHAT, exactly?
The Old Bag
---------
Oh, I dont know, exactly...but since when did America become the world
authority on opera?
Gertie
J.Venning
> authority on opera?
> Gertie
Since the all-mighty dollar lured singers, musicians, and stage
producers across the Atlantic.
J.
EvelynVogtGamble(Divamanque)
And #5 seems to cover every opera I've SEEN recently - at least in
America. although, come to think of it, the Zurich "Meistersinger" and
"Fedora" were adequately lit, as were the "Hansel & Gretel", "Lustige
Witwe" and "Fledermaus" I saw at the Wiener Volksoper a couple of months
ago. The Wiener Staatsoper "Boheme" was kind of so-so - the garret was
dim, but discernible, and most of the cafe scene itself was bright
enough, despite the depiction of night-time Paris outside. The third
act, however, would have been more enjoyable if one could have actually
SEEN the set!
EvelynVogtGamble(Divamanque)
Jim Burdett wrote:
>
> Do you think the broken pillars are supposed to allude to the decadence of
> western culture.
The opera with broken pillars that most immediately leaps to mind is the
Wiener Staatsoper "Electra", and I'm not sure that qualifies!
"Decadent" and "western culure" (at its birth), but not quite "western
culture" as defined by modern stage "designers".
EvelynVogtGamble(Divamanque)
Au contraire - the Americans have picked up where the Europeans left
off, and are trying to "improve" upon it! (You haven't seen much opera
in the states lately, have you?)
>
> Gertie
Lis Froding
Ameritrash when there was an American production
they didn't like?
Lis
lav...@webtv.net
For his final exam in the "Set Design" course he sketched a set with,
are you ready, "broken columns" to symbolize the decline of
civilization, and at that time it was already a cliche. Amazingly 30
years later, people are still doing this. So if anyone tells you this
is "experimental" or "non-traditional" just smile knowingly.
lav...@webtv.net
zeffirelli".
Cub Driver
>Wouldn't it be nice if Americans used the expression
>Ameritrash when there was an American production
>they didn't like?
I wouldn't know what an Ameritrash production might be. But I
certainly know what a Eurotrash production looks like.
It's not enought to dislike a production, Lis. It must have certain
characteristics. Most important, it must be irritatingly
self-referential. For Met productions, the existing Cenerentola would
qualify.
For a production to be really bad and quintessentially American, I
think it would have to err on the side of excess. Perhaps an Aida with
13 elephants on stage at once? A Salome with a real severed head? (Mel
Gibson might be the producer.)
all the best -- Dan Ford
email: war...@mailblocks.com (requires authentication)
see the Warbird's Forum at www.warbirdforum.com
and the Piper Cub Forum at www.pipercubforum.com
Singer709
"Mel Gibson might be the producer."
Not Tarentino?
Leonard Tillman
That's, of course, "*Has* any director achieved...
LT
Leonard Tillman
more extreme notoriety than Calixto Bleito?
LT
Jason
and must resort to this meaningless term to describe an opera
production. It's use says more about the user than the object
described.
Jason
Valfer
etc. I had to negotiate in my performing days, I would have a healthy
retirement account. This is not new. It's scenery designers trying
to catch the eye with cheap visual tricks.
To me, Eurotrash is when the broken column, statue, wall, etc. is
given uncalled-for symbolic meaning in a production.
Valfer
lav...@webtv.net wrote in message news:<25192-404...@storefull-3151.bay.webtv.net>...
Lis Froding
> >Ameritrash when there was an American production
> >they didn't like?
>
> I wouldn't know what an Ameritrash production might be.
Not do I, but it seems that whenever Americans don't like
a European production, they label it as Eurotrash, regardless
of what it looks like. It's used as a catchall expression, and
it just smacks of "we know better in the U.S. what things
should look like, those silly Europeans have no idea,"
which strikes me as pure nonsense, not to mention blindly
patronizing.
And yes, I know the origin of the expression "Eurotrash"
as "excess European royalty" floating around New York,
but what on earth that has to do with opera beats me.
Lis
Michael Hetsko
> should look like, those silly Europeans have no idea,"
> which strikes me as pure nonsense, not to mention blindly
> patronizing.
I'm not sure "patronizing" is the word. Maybe "insulting" is better.
We have many words here in the US which we attach "trash" too, e.g. "white
trash", trailer trash", etc. In at least one of those cases, if not both,
it probably says more about who is saying it than about who they are saying
it about.
>
mike h
EvelynVogtGamble(Divamanque)
Not at ALL "meaningless", if you've been reading this thread, which
started out with an attempt to define it! (The definition may have been
somewhat "tongue in cheek", but it provides some fair guidelines to the
genre, nonetheless.)
EvelynVogtGamble(Divamanque)
Lis Froding wrote:
>
> "Cub Driver" <war...@mailblocks.com> wrote in message
> news:3866409u6oh7cd0rn...@4ax.com...
> >
> > >Wouldn't it be nice if Americans used the expression
> > >Ameritrash when there was an American production
> > >they didn't like?
> >
> > I wouldn't know what an Ameritrash production might be.
>
> Not do I, but it seems that whenever Americans don't like
> a European production, they label it as Eurotrash, regardless
> of what it looks like. It's used as a catchall expression, and
> it just smacks of "we know better in the U.S. what things
> should look like, those silly Europeans have no idea,"
> which strikes me as pure nonsense, not to mention blindly
> patronizing.
Actually, I've seen the term used to describe quite a few productions by
American designers (many of which are even worse than their European
counterparts).
REG
the only rationale I can think of is that that "school" of design, which
tends to ignore the specifics of the text in order to "dress up" a
production, is far more popular in Europe, and seemingly better accepted by
audiences there (and critics) than it is here, but I think your point is
well taken, and it is insulting.
"Lis Froding" <li...@comcast.net> wrote in message
news:ZqadndsKwPs...@comcast.com...
WDSmithDM
> Not do I, but it seems that whenever Americans don't like
> a European production, they label it as Eurotrash, regardless
> of what it looks like. It's used as a catchall expression, and
> it just smacks of "we know better in the U.S. what things
> should look like, those silly Europeans have no idea,"
> which strikes me as pure nonsense, not to mention blindly
> patronizing.
Actually, I've seen the term used to describe quite a few productions by
American designers (many of which are even worse than their European
counterparts).
>
> And yes, I know the origin of the expression "Eurotrash"
> as "excess European royalty" floating around New York,
> but what on earth that has to do with opera beats me.
>
> Lis >><BR><BR>
As I recall, the term "Eurotrash" originated with Arlene Croce, who was the
dance critic of the New Yorker, when she described a German dance company.
Singer709
I disagree. We see the term Eurotrash in all opera magazines nowdays,
and it's well understood. It's a shortcut term that describes
productions that enhance the mindset of the designer rather than the
opera itself, often to the detriment of the overall. A prime example
is the recent Ballo where the conspirators are sitting on a row of
toilets at the beginning. It shouts "Look at me! I'm creative!" when
in fact it's puerile.
Sailbad Sinner
> Recently a reviewer defined "Eurotrash" opera productions, and I
> thought I'd share it. You're welcome to add to the list, or comment.
>
>
> Euro-trash staging requires the following:
>
Here's one more: a featureless background lit almost evenly but not
quite. Prime specimen: Chatelet production of Orphée et Eurydice.
Stage director: Robert Wilson (is this eurotrash or ameritrash?) The
limited resolution of dvd media and players generate no end of digital
artefacts on the background. On the other hand, this is splendid test
material for the block noise reduction function in your player.
Cub Driver
>Not do I, but it seems that whenever Americans don't like
>a European production, they label it as Eurotrash, regardless
>of what it looks like. It's used as a catchall expression, and
>it just smacks of "we know better in the U.S. what things
>should look like, those silly Europeans have no idea,"
>which strikes me as pure nonsense, not to mention blindly
>patronizing.
I find it very useful! The example I cited (Cenerentola at the Met)
was, as far as I know, wholly an American production. At least it was
bought & paid for in Manhattan.
I don't think that's bad. To put on an opera, and to keep jumping up &
down pointing at it: Look! This is an opera! It is not real life! is
one way of looking at the art form. Not a particularly good way, in my
opinion, but no matter: we got it from late-century Europe, so those
of us who don't care for it call it Eurotrash. Why not? It's catchy. I
don't find it particularly insulting: we're talking here about trash
from Europe, not about trashy Europeans.
As for patronizing, I think that what I find most annoying about
Eurotrash productions (I'm thinking in particular of Il Turco in
Italia, seen at La Scala about ten years ago) is that the producers
seem to be patronizing ME, poor parochial me, who would prefer a
literal production of the opera.
>And yes, I know the origin of the expression "Eurotrash"
>as "excess European royalty" floating around New York,
>but what on earth that has to do with opera beats me.
I had to ponder a while before I realized what you meant. Okay, I do
remember that idea. But I don't think it has anything at all to do
with opera productions. It's a case I suspect of a word in search of a
definition, and it found a better one in the opera world.
NBPalmer1
>tends to ignore the specifics of the text in order to "dress up" a
>production, is far more popular in Europe, and seemingly better accepted by
>audiences there (
I would say that such directors "probe" and then "interpret" the specifics of
the text - absolutely NOT ignore...
This is on the basis of having had the opportunity to discuss such matters with
a few the directors I imagine that many here have in mind..
Cheers, NICK/London
Jason
> and it's well understood. It's a shortcut term that describes
> productions that enhance the mindset of the designer rather than the
> opera itself, often to the detriment of the overall. A prime example
> is the recent Ballo where the conspirators are sitting on a row of
> toilets at the beginning. It shouts "Look at me! I'm creative!" when
> in fact it's puerile.
Opera magazine writers can be as Neanderthal as anyone else when it
comes to judging production. "Eurotrash" is just a club for bashing
what is disliked and/or misunderstood. It is like any of the many
terms which seek to reduce the opponent to a one-dimensional term and
then dismiss it. Like "liberal" or "faggot" -it is reductive and
never seeks to understand, only condemn. Contemporary opera
productions can be good, bad or indifferent and all be described by
"Eurotrash." As an example I saw two productions in Stuttgart
recently, both directed by Yossi Wieler. One was superb, one of the
best I have ever seen and the other was a total failure. According to
the present misuse of the term they could both have been dismissed as
"Eurotrash." There was a cover of The New Yorker sometime in the past
year that showed arrivals at JFK with signs for passport controls -one
was labelled "Eurotrash" -it showed a lot of overdressed aristocratic
European types. That was the original meaning and as I understand it
continues to be the one that most people understand.
Singer709
I think Robert Wilson transcends divisional boundaries and produces
goofy stuff for everyone's disdain.
That being said, I enjoy Wilson's productions when they are applied to
composers like Philip Glass -- these complement one another. But for
classic opera? Fuggedaboutit
Operatunenity
>the text - absolutely NOT ignore...
Although I have seen some wonderfully different productions more often than
not something is often lost in the interpretation with these kinds of
productions. The probing often distorts the opera rather than enhancing it, and
the bringing out of certain aspects often present a skewed perpective that is
just as dispuptive. More often than not the singers are hamstrung and unable to
sing as well.
Probing is a serious and important part of any work, whether it is a
recreation or something entirely new, so it's not the probing that bothers me.
What bothers me is the finished product, that there is only so far you can
stretch an opera, and I often get the feeling that the stage director is
thumbing his nose at the music, the singers, even the opera iteslf, and most of
all the convention that creates opera in the first place. It's as if they hate
the art form. I find many productions either masturbatory and solipsistic or so
overladen and indicated with extra symbolisms of "meaning" that I can't become
absorbed in the show.
Opera is a specialized art form. It is also bizzare art form. Do people
normally carry on conversation drawing their words at the top of their voices
at extreme pitches? Some of that belief is already suspended by the art form
itself. Work against it and it ceases to be opera. No matter how hard people
try to raise the visual standard, the auditory will always rule. I am all for a
visual that matches the auditory impact as much as possible, but sacrificing
the auditory for the visual is what I often see with many of these new
productions, and for what? I think if these directors want to do something big,
they should write an opera libretto. I'd like to see how some of these
"misunderstood geniuses" would react if they saw their work bastardized like
the basterdize the work of others, but then most aren't creative enough to
write their own libretto, so they mess up someone else's. I think the tyranny
of the stage director has gone about as far as it can get. The pendulum can
only swing swing back. It's time a balance was restored and the composer was
respected again.
Operatunenity
>
It's called Eurotrash because it originated in Europe. It doesn't mean all
trash is Euorpean, or that all European productions are trash. It has become an
accepted term. It stuck because there was something to it. People needed to put
a lable on it. Americans do it too, but they started later, and they imported
it.
I would like to add some definitions.
A Eurotrash production must have at least three of the following
1. a bodily fluid, Ex: blood, semen, feces,S&M
2. Trench coats or at least the next best thing, a bathrobe.
3. References to World War 2 Ex. bombed out buildings, concentration camp
prisoners, tanks, machine guns, fatigues, World War 2 fashion symbols. etc.
4.The singers must not be near each other or looking at each other, especially
at intimate moments.
5. The costumes must be the same color as the sets, and anything else that may
prevent a singer from standing out.
6. The symbols must be brazen and more important than the text, the text is
not important.
7. The production must be referred to as "My Rusalka"," My Butterfy" etc by
the stage director as opposed to Dvorak's Rusalka, or Puccini's Butterly.
8. The sets must be black and white or gray. Some red is permitted, as well as
metallic colors.
9. The singers must be doing ridiculous strenuous movements unrelated to the
text during the most difficult and atmospleric moments. It is especially
important that the singer is not able to see the conductor.
10. Large pieces of scenery must move during important dramatic moments in the
singing.
11. The production is not considered a sucsess unless it is vociferously booed.
Leonard Tillman
> thumbing his nose at the music, the singers,
> even the opera iteslf, and most of all the
> convention that creates opera in the first
> place. It's as if they hate the art form.
It would come as no surprise, to find that this is what they privately
feel.
>I find many productions either masturbatory
> and solipsistic or so overladen and indicated
> with extra symbolisms of "meaning" that I
> can't become absorbed in the show.
In the hands of these directors, a production's success is no doubt
despite, rather than because of their infuence.
LT
OmbraRecds
>Euro-trash staging requires the following:
I saw a ridiculous Macbeth with the Lady dressed in a pant suit that looked
like Rosie O'Donnell. Naturally, the Macbeth was in a 1930 suit(what is it with
this period?) The rest were(you guessed it) Nazis!!!!!! Shame on the idiot who
ruined this production for Kansas City's Lyric Opera! Even worse, the singers
had wonderful voices. What a waste.
Patrick Byrne
OmbraRecds
It would be, but I am afraid that this sort of style originated in Europe. Do
you think the Met lead the way?
PCB
OmbraRecds
>And of course, the Americans are oh so pure and non trash....
>
>Gertie
Wrong. We are inundated in trash, in opera, tv, movies, politics, economics. M.
Stewart, Enron, MTV, the current "war", voter fraud, Kobbe Bryant, etc..
PCB
EvelynVogtGamble(Divamanque)
Exactly! You find just as much (if not more) of that kind of mindset in
America, often doing even greater violence to the original setting and
plot. I'm perfectly willing to call it "Ameritrash" instead of
"Eurotrash", so long as we agree that it's "trash", of whatever
nationality. I'm not saying directors should never be "creative" with
their productions, but only insofar as they ENHANCE the original - too
often they change the opera out of all recognition (in the case of Marta
Domingo, even to the point of rewriting the composer's ending, because
she liked her own idea better).
OmbraRecds
>and must resort to this meaningless term to describe an opera
Nonsense. How is it lazy to take issue with a time period, lack of set, bizarre
costumes, non of which fit the opera being produced? I am not inarticulate nor
lazy. I also find that nearly every opera friend immediately understands what
is implied by "eurotrash".It is not being used to describe only European
productions. The general concensus is that this "style" sprang from across the
pond.
PCB
EvelynVogtGamble(Divamanque)
Apparently his Butterfly has not been going over too well in L. A.,
judging by all the "special offer" mailings I've received for it! (The
latest was a "two-for-one" deal - buy one seat, the second is free -
trouble is, I don't know anyone I'd want to inflict it upon by taking
them as my companion!)
David Melnick
> It is like any of the many
> terms which seek to reduce the opponent to a one-dimensional term and
> then dismiss it. Like "liberal" or "faggot" -it is reductive and
> never seeks to understand, only condemn.
Wait a second! Is "liberal" a term of dispraise in the
general vocabulary these days, that is, beyond the right-
wing talk shows? What a world!
David
Capa0848
>From: ombra...@aol.com (OmbraRecds)
>Date: 3/2/2004 8:27 AM Pacific Standard Time
>Message-id: <20040302112729...@mb-m07.aol.com>
Kobbe Bryant -- very good!
And while we're speaking of trashy musicologists let's not forget Monica
Slonimsky.
Pat
Historians are like deaf people who go on answering questions no one has asked
them.
Tolstoy
Capa0848
>From: David Melnick dmel...@pacbell.net
>Date: 3/2/2004 9:45 AM Pacific Standard Time
>
>Wait a second! Is "liberal" a term of dispraise in the
>general vocabulary these days, that is, beyond the right-
>wing talk shows?
Yes
>What a world!
>
Ain't that the truth!
>David
Capa0848
>From: x645...@hotmail.com (Jason)
>Date: 3/2/2004 6:16 AM Pacific Standard Time
>Message-id: <67c6f473.04030...@posting.google.com>
>Opera magazine writers can be as Neanderthal as anyone else when it
>comes to judging production. "Eurotrash" is just a club for bashing
>what is disliked and/or misunderstood. It is like any of the many
>terms which seek to reduce the opponent to a one-dimensional term and
>then dismiss it. Like "liberal" or "faggot" -it is reductive and
>never seeks to understand, only condemn. Contemporary opera
>productions can be good, bad or indifferent and all be described by
>"Eurotrash."
I don't think so, Jason. I think if a given person likes a contemporary
production he tends to call it avant-garde; if he doesn't, he calls it
Euro-trash.
I could be wrong, but I'll bet that 70% or 80% of opera-goers have seen a
'modernized' or 'minimalist' production that they liked; I suspect that 95% of
us have seen at least one that we didn't like.
Perhaps "Eurotrash" might best be defined as an avant-garde production that one
doesn't happen to like.
Mark D Lew
Operatunenity <operat...@aol.com> wrote:
> What bothers me is the finished product, that there is only so far you can
> stretch an opera, and I often get the feeling that the stage director is
> thumbing his nose at the music, the singers, even the opera iteslf, and most
> of all the convention that creates opera in the first place. It's as if they hate
> the art form.
I don't think they hate the art form per se, but I do think they hate
the convention by which opera is locked into a certain unchanging
tradition. For many operagoers, this tradition *is* the art form, so
they feel the directors are anti-opera.
I would argue, by the way, that what is commonly conceived of as being
"traditional" interpretation of opera is not nearly as old as many
assume. It is based on the style of the 1950s. Today's conservative
audience rejects operatic conventions from before that era as much as
innovations from after it.
mdl
Mark D Lew
Operatunenity <operat...@aol.com> wrote:
> A Eurotrash production must have at least three of the following
> 1. a bodily fluid, Ex: blood, semen, feces,S&M
Unless S&M now stands for snot and mucous, I don't see how that
qualifies as a bodily fluid.
> 9. The singers must be doing ridiculous strenuous movements unrelated to the
> text during the most difficult and atmospleric moments. It is especially
> important that the singer is not able to see the conductor.
Ha. This reminds me of the recent Trovatore in San Francisco. Much of
it I found curious -- somewhat illuminating for a person who already
knows the story, in spite of being utterly baffling to anyone who
doesn't -- but the one scene that made no sense at all was the famous
anvil chorus, in which the chorus was doing these "ridiculous strenuous
movements". I think maybe that's what these Euro/Americo-trash
directors use to fill in for any scene which doesn't fit into their
vision but is too well-known to cut.
mdl
Mark D Lew
<ombra...@aol.com> wrote:
> Naturally, the Macbeth was in a 1930 suit(what is it with
> this period?)
It's the easiest period to costume.
I don't mean that as a joke. It's a serious consideration for a
low-budget company. I've been involved in productions where I know for
a fact that it was a decisive factor in transplanting the story to the
1930s.
mdl
David Melnick
> I would argue, by the way, that what is commonly conceived
of as being
> "traditional" interpretation of opera is not nearly as old as many
> assume. It is based on the style of the 1950s. Today's conservative
> audience rejects operatic conventions from before that era as much as
> innovations from after it.
>
Do you mean Baroque conventions when you say "before
that era"?
When I saw operas in the late '40s and early '50s, the
production style was very similar to what I also saw in
books of illustrations from 50 years and more before that.
There were a few specific innovations, e.g., the unit set,
that opera adopted at midcentury, though even those derived
from earlier legitimate theater practice, e.g., Gordon Craig
in the post-WWI era.
Gestures, too, were not dissimilar to what we see in films
from early in the century. There was a distinction between
good acting and bad, of course. Among others, Renata Scotto
(good) and Joan Sutherland (not so good) carried those
acting traditions on through to the current generation.
So I have a feeling that at least for late nineteenth
century and early twentieth century operas, the tradition
was handed down from the source.
David
Leonard Tillman
>In article
><20040302104925.20136.00000720@mb-m2
>7.aol.com>, Operatunenity
> <operat...@aol.com> wrote:
> A Eurotrash production must have at least
> three of the following
> 1. a bodily fluid, Ex: blood, semen,
> feces,S&M
---------------------
>Unless S&M now stands for snot and mucous,
> I don't see how that qualifies as a bodily fluid.
Regrettably, it does, - but as a combo. Since the substances are
semi-solids containing even negligable quantities of water, they must be
given their due as bodily fluids.
LT,
- who has now decided to forego breakfast......just for a while.... -
and has again become nostalgic for the days of another S&M - Sid &
Morty's Corner Deli in Brooklyn. Those were the days, my friend, we
thought they'd never end, we'd sing and dance forever and a day.........