You’ve got to taste all the fruit
“F. Paul Driscoll, editor of Opera News [not pictured], is optimistic. He feels every age has potential to be golden, yet he adds that ‘we don’t know if it’s real gold until we rub it a little bit, do we?’ Countertenor Anthony Roth Costanzo, who looks to Mick Jagger for performing tips, strives to make opera zing, ‘like when you break an orange peel and there is a spray of some fragrant zest,’ he says.” [NPR]
So many topics! It is very difficult to know what to think or what to say, so why keep silent?
As to Mae West, I believe she was born in Brooklyn near the end of the nineteenth century and lived eighty some years, always as herself, the same, but she aged, as people tend to do. The Society for the Prevention of Vice was not a fan of hers, and did not appreciate the wit of her jokes, but Cary Grant did. Imitators? That’s a drag industry. She is immortal in many ways, no less as a Salvador Dali Sofa.
As to the PBS child, I can’t find Coward’s “What’s Going to Happen to the Children When There Aren’t Any More Grownups”. The less to say about her the better, except that it is true some people do not appreciate Jussi, incredible as it sounds, and if this will be the future of opera, why bother?
As to ghastly German productions of operas, well, we can always forget about them, just listen and not watch, or sing with Coward.
Mae West was far too ugly to be a man.
It did nothing of significance after the 1930s, instead living for 40 years as a grotesque caricature of an East German shot putter in a too tight sequined dress.
I can see David Daniels singing the title role in an operatic version of it’s life composed by Rufus Wainwright.
Wow -- at first glance, I thought that the photo was of a costume fitting for the LOC’s about-to-be announced production of Anna Nicole, starring the Creative Consultant herself ………
Along with LOC’s announcement of a forthcoming ANNA NICOLE….. it will also be announcing the changing of it’s mantra……from FEEL THE PASSION……..to DOWN THE TOILET.
OT: The British Film Institute’s Sight and Sound has named Vertigo as the greatest movie ever made, replacing Citizen Kane, which was on the top of the list for 50 years. (I know it’s BS, but anyway) Now, both movies were scored by fabulous Bernard Herrmann. I think that’s great. I wonder if the films would be as popular or wonderful if Herrmann hand not scored them??? Just a thought.
The NPR transcript linked above brings up, yet again, the topic of the popularity of opera. Though I didn’t much care for the content of this transcript (chatty, superficial and a little offensive to those who don’t assume that the world is limited to America), I shall use it as an opportunity to ask a couple of questions.
Firstly, what are the criteria that define an art form as being popular? Obviously, the type of media carrying it will determine how many people will be exposed to it: the audience for prime time TV is potentially larger than the audience for live performances. But more interestingly, it seems to me that there is a substantial difference between popular performances in the style of Jackie Evancho and popular performances as can be seen at Arena di Verona or Chorégies d’Orange. When we talk about making opera a popular art form again, it would be nice to know exactly what we are referring to.
Secondly, I have this nagging feeling that some of the people who are consumers and lovers of opera have, for one reason or another -self image and psychological reassurance, social status, an elitist mentality, etc.-, a vested interest in restricting the popularity of opera. I stand corrected if I am wrong.
Speaking of likenesses -- May West -- Lady Gaga!