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#4114 - 11/28/11 02:18 PM Re: Glyndebourne 2010 [Re: Jon]
Christopher Offline
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Registered: 07/02/02
Posts: 3558

Turn of the Screw

I've heard this once...was it ever a Met Saturday broadcast? I'm afraid I don't remember it much.

Couldn't find Billy Budd.

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#4116 - 11/28/11 05:42 PM Re: Glyndebourne 2010 [Re: Jon]
Barbara Offline
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Registered: 04/24/99
Posts: 13033
Loc: Citrus Heights, CA , US
I think The Turn of the Screw was a Saturday broadcast a few years back; I seem to remember listening.

Jon, I know it's your profession, but I still get amazed at how much you know to watch for, to listen for. Tell me something about you and Britten: Was it love at first sound? For me, he's been one of those composers I had to work my way into.

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#4127 - 11/29/11 12:27 PM Re: Glyndebourne 2010 [Re: Barbara]
Jon Offline


Registered: 04/25/99
Posts: 6422
Loc: Newark, Delaware, USA
Originally Posted By: Barbara
I think The Turn of the Screw was a Saturday broadcast a few years back; I seem to remember listening.
A broadcast from where? Certainly it's not on the Metropolitan Opera Saturday broadcast schedule, as that company has never done the opera and never will -- not with a cast of 6 that almost never sings together and an orchestra of 13. But maybe a local station might have put a recording or broadcast of this opera in the Saturday-afternoon slot during the off-season; that happens a lot.
Originally Posted By: Barbara
Jon, I know it's your profession, but I still get amazed at how much you know to watch for, to listen for. Tell me something about you and Britten: Was it love at first sound? For me, he's been one of those composers I had to work my way into.

Yes, pretty much at first sound. Let me try to recall my first encounter with Britten....

I think I was just starting high school. I was interested in opera (without knowing many at all; I was first intrigued, believe it or not, by the stories) and my parents gave me a book of "stories of operas" for Christmas one year, the old Modern LIbrary volume. I saw The Turn of the Screw in there, and that piqued my interest because I had read the novella -- maybe for a class. So one time visiting the local library I saw that they had a recording of it, and I checked it out and listened to it, and I was immediately hooked. I found the music atmospheric and compelling, and I was hooked by the way it enhanced the story and suggested the mystery behind it.

In general, the first operas I liked (I tried recordings of several over a period of months around that time) were "non-aria" operas, the ones that got on with it and told the story without fuss. My first three loves, in fact, were Das Rheingold, La Bohème, and The Turn of the Screw, which all fit that description. Verdi and Mozart were much harder for me at first because of all the recitative and stopping for numbers that didn't try to advance the plot quickly (or, sometimes in Mozart, didn't try to be tuneful). I needed to see those in the theater to get the idea -- that happened when I got to Indiana U, which did 6 operas a year.

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#4131 - 11/29/11 11:38 PM Re: Glyndebourne 2010 [Re: Jon]
Barbara Offline
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Registered: 04/24/99
Posts: 13033
Loc: Citrus Heights, CA , US
Story? You took to Britten immediately but balked at Mozart and Verdi because of interruptions to the story??? Oh, wow! But the aria-free opera is purer theater, yes, so that does make sense. You may be right that the broadcast of The Turn of the Screw I heard was a recording, but I've got it in my head it was live. Perhaps the Chicago Lyric? Or San Francisco? WTAE in Pittsburgh used to broadcast occasional performances by both companies, on an irregular basis.

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#4138 - 11/30/11 03:39 PM Re: Glyndebourne 2010 [Re: Jon]
Jon Offline


Registered: 04/25/99
Posts: 6422
Loc: Newark, Delaware, USA
And my description of Boheme was imprecise; obviously it has arias! But they don't have repetitions of the lines of text, and the orchestra keeps moving on to new moods and thoughts (none of the pages of oom-pah-pah that can put a kid off Verdi at first). Even the Britten and Wagner have solo passages, for that matter. But the whole thing played in my mind as theater in a way that I understand.

Mind you, I came to love Mozart and Verdi inordinately! But I wasn't yet used to the musical conventions. (In Figaro, the first I tried, it's maybe 20 minutes before we get to the first real melodic solo moment as I then understood it (Se vuol ballare), and there's an awful lot of chattering-with-harpsichord on the way there that my young mind kept weighing against the more eventful in-between stuff from the other composers I knew.)

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#4140 - 11/30/11 08:29 PM Re: Glyndebourne 2010 [Re: Jon]
Rita Offline


Registered: 09/22/04
Posts: 3264
Loc: St. Paul, MN
Verdi isn't oom-pah-pah. He's thumpedy-thump.

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#4143 - 12/01/11 10:46 AM Re: Glyndebourne 2010 [Re: Jon]
Christopher Offline
Member

Registered: 07/02/02
Posts: 3558
Oom-pah-pah has to be German, but who? Obviously not Wagner.

I'm trying to remember what my first opera was, but I'm drawing a blank.

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#4144 - 12/01/11 11:45 AM Re: Glyndebourne 2010 [Re: Jon]
Jon Offline


Registered: 04/25/99
Posts: 6422
Loc: Newark, Delaware, USA
Rita, listen to almost any aria from Traviata or Trovatore or Rigoletto. Oom-pah-pah galore. (I love it NOW, but it cost me some effort and humility THEN.)

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#4151 - 12/02/11 04:52 PM Re: Glyndebourne 2010 [Re: Jon]
Rita Offline


Registered: 09/22/04
Posts: 3264
Loc: St. Paul, MN
Well, OK, yes, I can hear oom-pah-pah in "Sempre libera" and "La donna e mobile"...and even in "Di quella pira", with a little effort. And "Parigi o cara". Not "Questo e quella", though. It just seems to me so many of Verdi's numbers (or maybe scenes) end with thumpedy thumpedy thumpedy thumpedy thump THUMP thump THUMP thump. Thump. Thummmmmmmp. (Can you hear it?)

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#4152 - 12/02/11 06:31 PM Re: Glyndebourne 2010 [Re: Jon]
Austin
Unregistered


Well, dang! I can hear it.

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