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 ny. A Season of Opera: From Orpheus to Ariadne gathers jointly for the 1st time Father Lee's most sensible broadcast and cassette commentaries, public lectures, and articles on twenty-three works for the musical level. The essays variety from the pioneering Orpheus of Monteverdi to the forward-looking Ariadne of Richard Strauss. integrated are Father Lee's well-known discussions of Mozart's Magic Flute and Beethoven's Fidelio , Verdi's los angeles 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 particular factor at the finish of the 20 th century, is a thought-provoking forecast of opera's destiny. techniques for additional examining, CD recordings, and video clips also are incorporated. Opera Canada has applauded Father Lee's 'extraordinary skill to have interaction, problem, and enlighten an enormous and numerous audience' and known as his learning-worn-lightly commentaries 'a particular mixture of religious empathy, classical scholarship, and mental insight.' Opera fans, or somebody attracted to psychology and mythology, humanities and comparative literature, or the artwork of the essay will welcome this booklet.
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Extra resources for A Season of Opera: From Orpheus to Ariadne
Initially she is fearsome, and The Magic Flute 35 often represented in the figure of the dragon. But if the hero, like the knight of old, can defeat the potentially destructive aspect of the feminine (slay the dragon) he will release the feminine's creative potential (free the maiden in distress). Jung calls this feminine archetype the anima - potentially destructive, potentially creative, ever ambivalent. The hero then encounters his masculine archetype, a father figure which Jung calls the Wise Old Man.
He joins them gently, very gently, then separates them, then joins them again. We know that he soon will die. The audience at Prague didn't expect to hear so serious a strain from its favourite composer. 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.
He senses that vulnerability, and exploits it, in the men as well as the women. They are all humbled, reduced to fixed attitudes, lost in wonder about what he makes them feel. In this he is a real seducer. He makes the other characters see themselves in their weaknesses. They call one another cruel. But he is the cruel one. He seems to see unflinchingly into their souls. No wonder they pursue him. There is a moment in Act I of the opera when trumpets and drums announce the arrival inside Giovanni's castle of three masked aristocrats.