By M. Owen Lee
Father Owen Lee is the world over identified for his intermission commentaries featured through the Saturday afternoon declares 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 diversity from the pioneering Orpheus of Monteverdi to the forward-looking Ariadne of Richard Strauss. integrated are Father Lee's recognized 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 detailed factor at the finish of the 20th century, is a thought-provoking forecast of opera's destiny. options for extra examining, CD recordings, and video clips also are integrated. Opera Canada has applauded Father Lee's 'extraordinary skill to have interaction, problem, and enlighten an unlimited and various audience' and referred to 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 paintings of the essay will welcome this e-book.
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Additional info for A Season of Opera: From Orpheus to Ariadne
Like the heroes in epic (like Homer's Achilles and Virgil's Aeneas), he is at first mother-bound, but comes eventually to see that he must listen to the wisdom of the father. Papageno too begins in a blissful state of irresponsibility. ' His peccadillos are punished in childish, gamelike ways. He has no worries except that he cannot find a mate. ) With the prince he attempts the journey from nature to culture. Though only half-human, and so not fully equipped to live a life of reason, he is rewarded, as is the prince, with a feminine companion like himself, a counterpart who is a completion and a fulfilment.
Its best values (flute and bells, three boys, beautiful princess that is to say, intuition, incipient wisdom, natural beauty) are assimilated into the new world of Sarastro. When John Updike retold the story of The Magic Flute tor children, he expressed the belief that even the Queen survived, and married Sarastro, and Tamino played the magic flute at their wedding. Updike spoke from the wisdom of hindsight. We now know, two centuries later, that what the Queen represents was in fact not destroyed, that the irrational re-emerged, after the eighteenth century's attempt to suppress it, in nineteenth-century Romanticism.
He wanders down the road to an Italian-style castle. There are orange trees. A splashing fountain. For just once in his life the innocent but tormented young genius, soon to burn himself out in the flames of his own inspiration, experiences a moment of pure repose. Remembering his childhood he plucks an orange, like Adam from the tree of the knowledge of good and evil, or like Apollo from the tree of the muses. The golden ball comes gently in his hand. He cuts it in half with a little silver knife, and admires the perfect inner surfaces.