How To Find The Horizontal Shift

There 's nothing to laugh



Tannhauser, Bologna Teatro Com, 14jan11

In September 2004 the library of the Duchess Anna Amalia (Herzogin Anna Amalia Bibliothek) Weimar suffered 'a serious fire in which more than 50,000 books were lost, with severe damage to world culture. The library 'was reopened after three years, returning more 'than ever to be the heritage of humanity that already' had awarded the UNESCO in 1998. Today the institution has assets of 1 million volumes in 11,000 dedicated to the theme of Goethe's Faust. The great hall of the Castle of Warburg, where traditionally held the second act of Tannhauser, is so 'identified in spirit to the crash site, where the flames are literally off to a firefighter in uniform causing some confusion among the spectators. But there 'nothing to laugh at: Never before culture and' at risk. And the opera, pure and mistakenly considered mere entertainment, is no longer 'seen by the current class as crucial to the cultural background of our country. Cosi 'come the tears in his eyes when we see the final scene of a child to stretch his hands to a volume of his library, focusing on reading the game of a ball rolling on: the story will be' read, and reading it will guarantee 'a perpetual existence in the memory and culture of the people who will make' her. The singer, here transformed by director Guy Montavon a poet, he wrote himself, and his listeners instead makes him. His singing is therefore not lost in the moment of listening, but remains in memory of his readers. Carla Moreni in a recent review retrieves a nice quote the President of Harvard: "If you think education is expensive try ignorance." Thus' there is Tannhauser and complains if it 'lacks the sumptuous' from which' generally Wagnerian opera, and it matters little that the Venusberg is immersed in a sea from which echoes the song of the sirens to make it visible, we think that the newspapers report the news Arcore from home. The direction of Anton Reck and 'light and romantic, can be powerful but not the score weighting of bombast, it helps to think rather than being overwhelmed. Ian Storey in the third act can overwhelm its intense story, and in the final scene is elevated above the company confirming his immense talent. Very good the other, except for some minor trimming of the singers. Enormous choir. In this conflict between sacred love and profane love, between reason and feeling, between the carnal pleasures and the pleasures of the spirit is missing an ingredient necessary to explain human nature: its fragility 'and imperfection. Serve to lower the level between gods and men, including pure virgin and unrepentant sinners. But that guilt exists, among the lowly in heart, and 'inevitable ... who has been missing from our ruling class (and who is ditching our heritage) and now' out of the question.

Interesting Facts About Taysachs

HOJOTOHO! Love and Anarchy



long wary of those who, as did Alberto Agazzani in his dramatic speech, he began to cry during a performance "This is NOT 'Chicken," as if Pollito went to lunch with him every holy day allowing them to have an exclusive on who can 'recognize. I recently found on a site online opera (Opera yet another click, sgnak, disk, pim pum pam) a reviewer who said the coat of arms "this is not 'Brynhild." Gia ', some people go to bed with the Valkyries. What seems not only arrogant, but even unsympathetic, arrogant and overbearing. I have seen in my career as a spectator only three Valkyries, and unfortunately only on video (two of which Barenboim direction even if on purpose): I have no reference points, normally do not go to Wagner (despite several travel visa-a Parsifal in Venice Tannhauser a Scaliger, a Siegfried in Florence and other things seen in Bologna, including a gorgeous gold of the Rhine directed by Pier Alli), but I found it very successful show in Milan. Barenboim and 'a river, less precise and dramatic Metha, with fast (the first act in the first place, and I' thought) that allow you to follow the story as if it were a story in which impassioned. And I 'enjoyed enormously. Not to mention the voices, all that I found more 'or less successful, with a superb theatrical interpretation of Meier, enhanced by televising. The magnificent Stemme, Kowaliow credible (maybe a little 'tired in the final, but he feels inaccessible!), O Neill better in the first part, in short, all very pleasant and smooth. The direction and 'pure theater, the forest Matrix-style lines with red blood and I' liked the of sculptures of horses and 'to great effect, and projections (unlike Fura) are not intrusive. I share the acclaim and continue to turn up their nose at the usual snob insatiable music lovers. When the foundations of lyrical force cuts will no longer 'way of doing nothing, or at least worst only works in concert with singers unlikely, then these snooty will be able to cover themselves head to ashes ....