Tuesday, April 5, 2011
A Wellspring of Grain
Mary Wells, "Bye, Bye Baby" (1960)
"The 'grain' of the voice is not--or not only--its timbre; the signifying it affords cannot be better defined than by the friction between music and something else, which is the language (and not the message at all). The song must speak, or better still, must write, for what is produced on the level of geno-song is ultimately writing" ("The Grain of the Voice" 273-274).
Saturday, April 2, 2011
Wagner's Götterdämmerung
I can understand here what Nietzsche means when he ironically says in reference to Wagner's décadence, "There is nothing more dangerous than a fine melody!...Let us never furnish enjoyment!" I can't find neither in this scene to save my life.
On the other hand, I much prefer this scene (something about the actors brings out the melody):
Thursday, March 31, 2011
The Dionysus in Shostakovich
This opera, Lady Macbeth of the Mtsensk District, offers one possibility of Dionysian-inspired tragedy in the 20th Century. I am partial to the audio version conducted by famed cellist Mstislav Rostropovich, and I find the visual interpretation here quite strange. Yet, this is a remarkable musical work that deserves a little attention.
Wagner on Masterpiece Theater
In case anyone is interested, Wagner is featured as the theme in this week's Masterpiece Mystery! Inspector Lewis: Music to Die For (2008) ;)
Thursday, March 17, 2011
Wednesday, March 16, 2011
A Case of Tannhauser
This clip reveals, I think, the magnetiseur and melancholia that Nietzsche finds in Wagner. I would like to highlight the segment (5:59-8:13 min) that accompanies the second quotation. You will find here a rare moment (7:06 min), when the weight of the overture falls on just two violins in the principal circle. The velvet-gloved clarinet softly transitions the orchestra into a quiet slumber, almost inducing an inebriated haze that coats the upper-register trills in the strings sections. The concertmaster plays a lazy, shut-eyed melody while the assistant concertmaster industriously urges a resistance to sleep, an earnest undercurrent, a refusal that becomes increasingly futile when the clarinet returns with his saccharine and seductive mournful call. We hear a duo become trio, but melodically, the clarinet as counter-point seems to pull the violin into a dripping lethargy. Enjoy.
0:00-3:07 min: "Once more: Wagner is admirable and gracious only in the invention of what is smallest, in spinning out the details. Here one is entirely justified in proclaiming him a master of the first rank, as our greatest miniaturist in music who crowds into the smallest space an infinity of sense and sweetness. His wealth of colors, of half shadows, of the secrecies of dying light spoils one to such an extent that afterwards almost all other musicians seem to robust" (Section 7, pp. 171, 1967 Kaufmann translation).
5:59-8:13 min:"But quite apart from the magnetiseur and fresco-painter Wagner, there is another Wagner who lays aside small gems: our greatest melancholiac in music, full of glances, tendernesses, and comforting words in which nobody has anticipated him, the master in tones of heavy-hearted and drowsy happiness" (Section 7, pp. 171, 1967 Kaufmann translation).
More Vertigo
Essentially I am posting this because I can't get images or the emotional affect of Vertigo out of my head while listening to Tristan and Isolde. However, I am also posting this clip from the film as a response to our discussion on Tuesday as to whether from our contemporary positionality with can emotionally connect to opera in the way that Nietzsche did. I was hoping that by posting this it would give people another avenue by which to experience the music, although I recognize for those who have not seen the film it will still be difficult to connect to it based on a single clip.
But, oh well.
I don't want to give an entire plot synopsis of the film because it is rather complicated, but in this moment Scottie (James Stewart) is anxiously awaiting the return of Judy (Kim Novak) whom he is trying to transform into the woman, Madeleine, that he was deeply and obsessively in love with during her life and in her death. Judy, wanting to capture Scottie's love has agreed to perform these illusive and imitative transformations. For me the heart wrenching moment is when she comes out of the bathroom, with the music soaring and the spectral hazy green illumination, we see her yearning desire to be loved and then the ecstasy when she realizes she has fulfilled Scottie's desires for a masked reality.
Tuesday, March 15, 2011
Monday, March 14, 2011
Summary of Bizet Carmen
The Story of Carmen, Act I
In a town square in Seville, soldiers and townspeople are gathered chatting and moving about, when a young peasant girl name Micaela questions the soldiers about her love, Don Jose. The soldiers try to persuade the young girl to stay with them until Don Jose returns, but she declines and leaves. Soon, Don Jose arrives moments before the cigarette factory bell rings and a group of women, including the beautiful gypsy, Carmen, exit the building. The soldiers flirt with the girls and asks Carmen when when she will love them. Her reply is given in the famous aria, "L'amour est un oiseau rebella" a.k.a. the Habanera. (Can't understand French? Read the Habanera lyrics and translation). (Watch a video of the Habanera.) Learn more about the creation of the Habanera in this Habanera Profile. When Carmen sees Don Jose she tosses a flower in front of him in order to seduce him. Don Jose picks up the flower and becomes enchanted by the beautiful Carmen. Shortly thereafter, Micaela returns with a letter and a kiss sent to Don Jose by his mother. In the letter, Don Jose's mother has asked him to marry Micaela. Don Jose promises his fidelity and love to Micaela. Moments later, a fight breaks out at the cigarette factory between Carmen and another woman. Carmen injures the woman before she is captured by Officer Zuniga. Zuniga commands Don Jose to escort Carmen to prison. However, Carmen charms Don Jose into letting her escape. When Don Jose is discovered for letting Carmen escape, he is thrown into jail for one month's time.
The Story of Carmen, Act II
At Lilas Pastia's Inn, Carmen and her friends, Mercedes and Frasquita, are socializing with several soldiers including Officer Zuniga, when the victorious bullfighter, Escamillo, arrives with a celebrating entourage. During the Toreador song, "Votre toast, je peux vos le rendre", Escamilo attempts to capture Carmen's heart. (Watch a video of "Votre toast" (Toreador Song).) Learn the Toreador Song lyrics and text translation. However, his attempts are unsuccessful, as are Officer Zuniga's, who tells Carmen that he will return to the inn later to meet with her - Carmen's heart waits for Don Jose's release from prison. A while later, once the crowd has dispersed, the smugglers Dancairo and Remendado ask for help from Carmen and her two friends. Mercedes and Frasquita agree to help, but Carmen refuses as she knows that Don Jose will be released from prison that day and meet her at the inn. When he finally arrives, Carmen dances for him. Her dance is cut short when a bugle sounds in the distance, signaling Don Jose to return home. Carmen mocks his obedience and tries to persuade him to remain with her and live the gypsy life. Don Jose does not give in until Zuniga arrives at the inn searching for Carmen. Zuniga orders Don Jose to leave, but in a fit of jealousy, he defies his commanders orders. Dancairo and Remendado tackle Zuniga and take him away from the inn. After all of this, Don Jose, feeling as if he has no other choice, stays at the inn with Carmen.
The Story of Carmen, Act III
Don Jose, now at the smuggler's hideout in the mountains, begins to reminisce about his former home and his mother and starts missing them dearly. Carmen, who has decided she no longer loves him, takes notice and starts taunting him to leave, but he does not. Mercedes and Frasquita tell their fortunes with a deck of cards. For the two girls, the cards reveal a life of wealth, love, and luxury. For Carmen and Don Jose, it reveals death. After discussing their plains, the smugglers and the girls leave, while Don Jose watches over the hideout. Soon, Micaela, assisted by a guide, comes to the mountain hideout and hides behind a mound of rocks when she hears a gunshot fired by Escamillo. Escamillo enters the hideout and begins telling Don Jose about his crush on Carmen. He also tells Don Jose about Carmen's relationship with a soldier, not knowing the story is about Don Jose. Don Jose becomes very angry and starts fighting Escamillo. The smugglers return before the fight gets worse. Escamillo invites Carmen and the others to his upcoming bullfight as he leaves the hideout. Micaela finally emerges from her hiding spot, and tries to convince Don Jose to return home during the aria "Je dis, que rien ne m'épouvante". (Watch a video of "Je dis".) After several unsuccessful attempts, she finally persuades him to leave by telling him his beloved mother is dying. Don Jose promises his return to Carmen and leaves with Micaela. In the distance, Escamillo can be heard singing, and Carmen begins heading in that direction.
The Story of Carmen, Act IV
During the procession of the toreadors, Carmen and Escamillo are seen arriving together. Mercedes and Frasquita warn Carmen that Don Jose is lurking around the crowd plotting to kill her. She tells them that she will speak to him to resolve the matter once and for all. While Escamillo enters the bullfighting ring, a desperate Don Jose meets Carmen outside the arena. He tells her she must commit her love and fidelity to him. She explains that she no longer loves him and throws the ring he gave her on the ground. Now completely mad, Don Jose stabs Carmen in the heart with a dagger. She dies simultaneously with Escamillo's bullfighting victory. When the arena empties, Don Jose confesses his crime to the crowd. (Watch a video of the final scene from Carmen.)
In a town square in Seville, soldiers and townspeople are gathered chatting and moving about, when a young peasant girl name Micaela questions the soldiers about her love, Don Jose. The soldiers try to persuade the young girl to stay with them until Don Jose returns, but she declines and leaves. Soon, Don Jose arrives moments before the cigarette factory bell rings and a group of women, including the beautiful gypsy, Carmen, exit the building. The soldiers flirt with the girls and asks Carmen when when she will love them. Her reply is given in the famous aria, "L'amour est un oiseau rebella" a.k.a. the Habanera. (Can't understand French? Read the Habanera lyrics and translation). (Watch a video of the Habanera.) Learn more about the creation of the Habanera in this Habanera Profile. When Carmen sees Don Jose she tosses a flower in front of him in order to seduce him. Don Jose picks up the flower and becomes enchanted by the beautiful Carmen. Shortly thereafter, Micaela returns with a letter and a kiss sent to Don Jose by his mother. In the letter, Don Jose's mother has asked him to marry Micaela. Don Jose promises his fidelity and love to Micaela. Moments later, a fight breaks out at the cigarette factory between Carmen and another woman. Carmen injures the woman before she is captured by Officer Zuniga. Zuniga commands Don Jose to escort Carmen to prison. However, Carmen charms Don Jose into letting her escape. When Don Jose is discovered for letting Carmen escape, he is thrown into jail for one month's time.
The Story of Carmen, Act II
At Lilas Pastia's Inn, Carmen and her friends, Mercedes and Frasquita, are socializing with several soldiers including Officer Zuniga, when the victorious bullfighter, Escamillo, arrives with a celebrating entourage. During the Toreador song, "Votre toast, je peux vos le rendre", Escamilo attempts to capture Carmen's heart. (Watch a video of "Votre toast" (Toreador Song).) Learn the Toreador Song lyrics and text translation. However, his attempts are unsuccessful, as are Officer Zuniga's, who tells Carmen that he will return to the inn later to meet with her - Carmen's heart waits for Don Jose's release from prison. A while later, once the crowd has dispersed, the smugglers Dancairo and Remendado ask for help from Carmen and her two friends. Mercedes and Frasquita agree to help, but Carmen refuses as she knows that Don Jose will be released from prison that day and meet her at the inn. When he finally arrives, Carmen dances for him. Her dance is cut short when a bugle sounds in the distance, signaling Don Jose to return home. Carmen mocks his obedience and tries to persuade him to remain with her and live the gypsy life. Don Jose does not give in until Zuniga arrives at the inn searching for Carmen. Zuniga orders Don Jose to leave, but in a fit of jealousy, he defies his commanders orders. Dancairo and Remendado tackle Zuniga and take him away from the inn. After all of this, Don Jose, feeling as if he has no other choice, stays at the inn with Carmen.
The Story of Carmen, Act III
Don Jose, now at the smuggler's hideout in the mountains, begins to reminisce about his former home and his mother and starts missing them dearly. Carmen, who has decided she no longer loves him, takes notice and starts taunting him to leave, but he does not. Mercedes and Frasquita tell their fortunes with a deck of cards. For the two girls, the cards reveal a life of wealth, love, and luxury. For Carmen and Don Jose, it reveals death. After discussing their plains, the smugglers and the girls leave, while Don Jose watches over the hideout. Soon, Micaela, assisted by a guide, comes to the mountain hideout and hides behind a mound of rocks when she hears a gunshot fired by Escamillo. Escamillo enters the hideout and begins telling Don Jose about his crush on Carmen. He also tells Don Jose about Carmen's relationship with a soldier, not knowing the story is about Don Jose. Don Jose becomes very angry and starts fighting Escamillo. The smugglers return before the fight gets worse. Escamillo invites Carmen and the others to his upcoming bullfight as he leaves the hideout. Micaela finally emerges from her hiding spot, and tries to convince Don Jose to return home during the aria "Je dis, que rien ne m'épouvante". (Watch a video of "Je dis".) After several unsuccessful attempts, she finally persuades him to leave by telling him his beloved mother is dying. Don Jose promises his return to Carmen and leaves with Micaela. In the distance, Escamillo can be heard singing, and Carmen begins heading in that direction.
The Story of Carmen, Act IV
During the procession of the toreadors, Carmen and Escamillo are seen arriving together. Mercedes and Frasquita warn Carmen that Don Jose is lurking around the crowd plotting to kill her. She tells them that she will speak to him to resolve the matter once and for all. While Escamillo enters the bullfighting ring, a desperate Don Jose meets Carmen outside the arena. He tells her she must commit her love and fidelity to him. She explains that she no longer loves him and throws the ring he gave her on the ground. Now completely mad, Don Jose stabs Carmen in the heart with a dagger. She dies simultaneously with Escamillo's bullfighting victory. When the arena empties, Don Jose confesses his crime to the crowd. (Watch a video of the final scene from Carmen.)
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