What concert have you seen recently?

[Cuprik]

Last night I saw a performance of Wagner's Die Walkure. Not too keen on the production, but the opera was riveting. I was surprised to find that I was particularly held by the exchange in Act II between Wotan and Frika. I keep thinking that there is a metaphor for something darkly profound here, but I can't quite put my finger on it.

On Stravinsky. One of the highlights in the tradition of Western Art Music. Unquestionably one of the Big Boys of music. It's possible to not like him. It's not possible to dismis him.

However, I am not of the same mind when it comes to Warhol. His work has certainly had considerable impact - but I'm not altogether sure Warhol himself is responsible for this impact. I don't think he was particularly talented, intelligent or reflective. Marketable, though.

[v russo]

Originally posted by Cuprik:
Last night I saw a performance of Wagner's Die Walkure. Not too keen on the production, but the opera was riveting. I was surprised to find that I was particularly held by the exchange in Act II between Wotan and Frika. I keep thinking that there is a metaphor for something darkly profound here, but I can't quite put my finger on it.


On Stravinsky. One of the highlights in the tradition of Western Art Music. Unquestionably one of the Big Boys of music. It's possible to not like him. It's not possible to dismis him.

However, I am not of the same mind when it comes to Warhol. His work has certainly had considerable impact - but I'm not altogether sure Warhol himself is responsible for this impact. I don't think he was particularly talented, intelligent or reflective. Marketable, though.

Warhols art was intended to be marketable...



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v russo

[spaceray]

Warhol's art was the market.

[Chaszz]

Last night I saw R. Strauss' early opera 'Salome' at the Met. Karita Mattila sang the title role and did an extraordinary job in this harrowing soprano part. She was very bit the perfect frustrated temptress/murderer with a golden voice, meeting Strauss on his own ground and wrestling him to a tie. For sex appeal she came in second to Ann Sophie van Otter as Carmen whom I saw on TV last week, but only by a little. (I must get that book by a feminist critic who contends that opera thrives by victimizing women, if only I could remember the title or author's name.)

The set, staging and costumes, a combination of modern 30s-style deco and a few touch touches of ancient Judean decadence, were good. The other singers were good also, especially Bryn Terfel as John the Baptist. The contrast between his puritanical condemnations and the decadence of the other characters was very dramatic, and could almost lead one to believe that the coolly cynical Strauss actually believed in something.

But the real magic, as usual for me, lay in the orchestra. Strauss is perhaps the most outlandish and creative of tonal orchestrators, and hearing and watching a first class orchestra playing this astounding music live was a thrill. The conductor, Valery Gergiev, splits his time among St. Petersburg, The Met, and Rotterdam. The traveling does not harm him. The sound and interpretation were superb. I heard his 'Parsifal' here in 2002, tremendous, and this was again, tremendous to listen to and observe.

[Jin]

Simon Shaheen.

[v russo]

Originally posted by Chaszz:
Last night I saw R. Strauss' early opera 'Salome' at the Met. Karita Mattila sang the title role and did an extraordinary job in this harrowing soprano part. She was very bit the perfect frustrated temptress/murderer with a golden voice, meeting Strauss on his own ground and wrestling him to a tie. For sex appeal she came in second to Ann Sophie van Otter as Carmen whom I saw on TV last week, but only by a little. (I must get that book by a feminist critic who contends that opera thrives by victimizing women, if only I could remember the title or author's name.)

The set, staging and costumes, a combination of modern 30s-style deco and a few touch touches of ancient Judean decadence, were good. The other singers were good also, especially Bryn Terfel as John the Baptist. The contrast between his puritanical condemnations and the decadence of the other characters was very dramatic, and could almost lead one to believe that the coolly cynical Strauss actually believed in something.

But the real magic, as usual for me, lay in the orchestra. Strauss is perhaps the most outlandish and creative of tonal orchestrators, and hearing and watching a first class orchestra playing this astounding music live was a thrill. The conductor, Valery Gergiev, splits his time among St. Petersburg, The Met, and Rotterdam. The traveling does not harm him. The sound and interpretation were superb. I heard his 'Parsifal' here in 2002, tremendous, and this was again, tremendous to listen to and observe.

Chaszz my fellow New Yorker; I am envious of you for seeing that production, good for you. Strauss was an interesting composer no doubt, and 'Salome' is one of his most significant operas.

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v russo

[This message has been edited by v russo (edited April 04, 2004).]