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HtoHe
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« Reply #240 on: 17:55:47, 30-03-2008 » |
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Thanks IGI. You'll have seen what I mean, then. I'm not sure I'm interested enough, or if my German is good enough, to listen to what Herr K has to say for himself; but the clips from the opera itself brought back some good memories. The Nederlandse Opera production will probably have been recorded for DVD release - and I'll probably buy it because I'm a sucker for buying DVDs of productions I've seen even though I have grave reservations about video recordings of theatrical productions. |
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Il Grande Inquisitor
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« Reply #241 on: 17:58:15, 30-03-2008 » |
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I've added the Fenice production to my DVD list. Thanks for all the Daphne comments/ gags...now, back to the question: any other operas involving transformations of characters?  |
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Our chief weapon is surprise...surprise and fear...fear and surprise.... Our two weapons are fear and surprise...and ruthless efficiency
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harmonyharmony
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« Reply #242 on: 18:04:53, 30-03-2008 » |
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When you say transformation, does this include disguise?
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'is this all we can do?' anonymous student of the University of Berkeley, California quoted in H. Draper, 'The new student revolt' (New York: Grove Press, 1965) http://www.myspace.com/itensemble |
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richard barrett
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« Reply #243 on: 18:07:35, 30-03-2008 » |
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any other operas involving transformations of characters? Believe it or not, Howard Shore has adapted his soundtrack music for David Cronenberg's film The Fly into an opera. (be afraid... be very afraid...) |
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Il Grande Inquisitor
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« Reply #244 on: 18:12:54, 30-03-2008 » |
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When you say transformation, does this include disguise?
I was thinking more of transformations rather than disguises (although the latter wolud be a good question for a later date). I had read about that Howard Shore opera, Richard. The premiere is later this year: http://www.howardshore.com/ |
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Our chief weapon is surprise...surprise and fear...fear and surprise.... Our two weapons are fear and surprise...and ruthless efficiency
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harmonyharmony
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« Reply #245 on: 18:17:22, 30-03-2008 » |
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Birtwistle's The Io Passion features the transformation of Io into a cow.
In the production I saw, this really just involved her putting the mask on and acting like a cow (um - I know people that do that every day (without a literal mask of course)).
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'is this all we can do?' anonymous student of the University of Berkeley, California quoted in H. Draper, 'The new student revolt' (New York: Grove Press, 1965) http://www.myspace.com/itensemble |
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Il Grande Inquisitor
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« Reply #246 on: 18:23:07, 30-03-2008 » |
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Good. Can you think of another Richard Strauss transformation? (albeit a temporary one)
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Our chief weapon is surprise...surprise and fear...fear and surprise.... Our two weapons are fear and surprise...and ruthless efficiency
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richard barrett
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« Reply #247 on: 18:26:24, 30-03-2008 » |
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Good. Can you think of another Richard Strauss transformation? (albeit a temporary one)
The golden shower in Die Liebe der Danae perhaps. |
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Antheil
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« Reply #248 on: 18:32:44, 30-03-2008 » |
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Well Bugler Me, no Kiickers rule  |
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« Last Edit: 18:50:37, 30-03-2008 by Antheil the Termite Lover »
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Reality, sa molesworth 2, is so sordid it makes me shudder
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George Garnett
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« Reply #249 on: 18:39:53, 30-03-2008 » |
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By Jove!
Can I bag A Midsummer Night's Dream please ('O Bottom, Thou art translated') before anyone else does.
Has anyone tried turning Kafka's Metamorphosis into an opera? Oh yes, they have, Brian Howard with a libretto by Steven Berkoff, but I don't know anything else about it.
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Il Grande Inquisitor
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« Reply #250 on: 18:40:55, 30-03-2008 » |
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Good. Can you think of another Richard Strauss transformation? (albeit a temporary one)
The golden shower in Die Liebe der Danae perhaps. Yes. I was thinking of Danae's transformation into a golden statue by Midas. Beautiful opera. I'd love to see it staged. By Jove!
Can I bag A Midsummer Night's Dream please ('Oh Bottom, Thou art translated') before anyone else does.
Well bagged, Sir! |
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Our chief weapon is surprise...surprise and fear...fear and surprise.... Our two weapons are fear and surprise...and ruthless efficiency
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Ian Pace
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« Reply #251 on: 18:52:06, 30-03-2008 » |
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Isn't that Rosaleen Young (the brunette), Antheil?
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'These acts of keeping politics out of music, however, do not prevent musicology from being a political act . . .they assure that every apolitical act assumes a greater political immediacy' - Philip Bohlman, 'Musicology as a Political Act'
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HtoHe
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« Reply #252 on: 19:05:58, 30-03-2008 » |
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I've added the Fenice production to my DVD list. Thanks for all the Daphne comments/ gags...now, back to the question: any other operas involving transformations of characters? Are we ruling out Alberich (twice) and Fafner in 'Das Rheingold' for being too obvious, or have I misunderstood the question, IGI? Just skimming the thread I noted a previous question about Public Holidays asking are there any in Wagner, but nobody seems to have mentioned Act III of 'Parsifal' being set on Good Friday. Once again, I might have missed it/misunderstood the question as it does seem a pretty obvious answer. |
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George Garnett
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« Reply #253 on: 19:19:27, 30-03-2008 » |
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We may need to seek a linesman's decision on this one but Shostakovich's The Nose might just be a contender? If the decision goes against me here I'll keep it up my sleeve for the fissiparousness round.
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perfect wagnerite
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« Reply #254 on: 20:15:48, 30-03-2008 » |
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An obvious Wagnerian transformation occurs in Lohengrin: Gottfried, Elsa's brother, is transformed into a swan by Ortrud, fetches up pulling Lohengrin's boat, and is transformed back into a man before Lohengrin departs (a passing dove having been roped in - literally - to pull Lohengrin's boat back to Monsalvat).
A temporary Straussian metamorphosis occurs in Die Frau ohne Schatten, in which the Emperor is nearly turned into stone in Act III, until the Empress renounces her quest for a shadow.
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At every one of these [classical] concerts in England you will find rows of weary people who are there, not because they really like classical music, but because they think they ought to like it. (Shaw, Don Juan in Hell)
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