By M. Owen Lee
Father Owen Lee is across the world recognized for his intermission commentaries featured through the Saturday afternoon proclaims from the Metropolitan Opera condominium in big apple. A Season of Opera: From Orpheus to Ariadne gathers jointly for the 1st time Father Lee's top broadcast and cassette commentaries, public lectures, and articles on twenty-three works for the musical degree. The essays variety from the pioneering Orpheus of Monteverdi to the forward-looking Ariadne of Richard Strauss. incorporated 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 designated factor at the finish of the 20 th century, is a thought-provoking forecast of opera's destiny. options for additional studying, 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 various audience' and known as his learning-worn-lightly commentaries 'a exact mixture of religious empathy, classical scholarship, and mental insight.' Opera fans, or an individual attracted to psychology and mythology, humanities and comparative literature, or the artwork of the essay will welcome this e-book.
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Extra info for A Season of Opera: From Orpheus to Ariadne
Actually the sinister-looking stranger was only a servant sent by a rich Viennese nobleman who was in the habit of commissioning works from professional composers and passing them off as his own. But to the fevered Mozart the stranger was an emissary from another world. The death he was writing a Requiem for was, he began to believe, his own. He was in fact working on the Requiem the day he died. He lay in bed and some of the singers from The Magic Flute came to see him and, at his The Magic Flute 29 request, sang the pages he had just written.
Morike is not alone in seeing larger issues in Don Giovanni. Mozart's 20 The Opera of All Operas opera, more than any other save perhaps only Tristan und Isolde, has caught the imagination of artists, composers, poets, philosophers, psychologists, men of letters, and music lovers. ' Goethe thought that only the man who had written Don Gio vanni could set his masterpiece, Faust, to music. Gounod, a composer who did set Faust to music - lovely music, but more sentimental than Mozart would have written - said of Don Giovanni, 'It has been a revelation all my life.
Later the elegant diners discovered that Beethoven, at the piano under the influence of his wild Muse, had broken half of the instrument's strings. It was a composer, not a performer, that he wanted to be. But when he studied composition, his teachers said, 'He has not learned anything and he never will. ' The truth was that he heard music differently. He was destined to change the way his century would write, and hear, music. Fidelio 43 He had to wrestle with music to make it say new things. It wasn't just that Romanticism was coming to birth in Germany, and would soon change the face of European art, music, and poetry.
A Season of Opera: From Orpheus to Ariadne by M. Owen Lee