By M. Owen Lee
Father Owen Lee is across the world recognized for his intermission commentaries featured in the course of the Saturday afternoon proclaims from the Metropolitan Opera apartment 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 level. The essays diversity 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 targeted factor at the finish of the 20 th century, is a thought-provoking forecast of opera's destiny. ideas for additional interpreting, CD recordings, and video clips also are incorporated. 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 targeted mixture of religious empathy, classical scholarship, and mental insight.' Opera fanatics, or someone drawn 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.
No one knows a great house, the universality of it, the true power of its performances, until he's been up where the sound bounds round the ceiling, where aspiring singers and veteran opera-goers listen in silence and dream their dreams. The Met introduced Porgy and Bess into its repertory a few years ago, and a lot of black people turned out to hear it, liked what they heard, and 42 Music to Set the Spirit Free came back, in ever-increasing numbers, to hear other operas. Nowadays there are always African Americans up top.
Or else Monostatos represents those black-souled initiates in the Viennese lodges who denounced their fellow Masons to the police as dangerous anti-monarchists. Not all of this is satisfactory, or even acceptable. Maria Theresa, for one thing, was a far more benevolent and beloved ruler than ever was her son Joseph II, and it was his successor, the new emperor in Mozart's day, Leopold II, who was the real anti-Freemason. Further, Ignaz von Born, the supposed Sarastro, had parted with the Masons several years before The Magic Flute was written.