Just to clarify, I don't "hate" opera the way I hate, say, Celine Dion
or Kenny G or Andrew Lloyd Webber or "American Idol." I hope that was
clear. It would be more accurate to say that opera leaves me cold --
with a handful of exceptions, I just don't find most operas satisfying
either as music or (especially) as drama. But that's just me. I'm not
making any sweeping value judgments, just expressing a personal
preference.
Anyway, back to the 1920's -- any seconders for Wozzeck?
- Darcy
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[EMAIL PROTECTED]
Brooklyn, NY
On 10 Mar 2005, at 9:18 AM, Christopher Smith wrote:
On Mar 10, 2005, at 7:04 AM, dhbailey wrote:
Darcy James Argue wrote:
On 09 Mar 2005, at 5:30 PM, Mark D Lew wrote:
But I pretty much hate opera, so I'd best disqualify myself from
*that* discussion.
Well, if you must know, I pretty much hate jazz.
You know, it strikes me that both Mark's attitude and mine are
pretty characteristic. The number of jazz musicians I know who are
into opera is vanishingly small, and I've found very few classical
singers who enjoy instrumental jazz. The exceptions on the latter
score tend to be light-voiced singers who do almost exclusively new
music and hate traditional opera even more than I do.
This rule even seemed to hold for the other employees of the
classical record store where I worked, who were mostly classical
instrumentalists -- the ones who liked opera tended to be
uninterested in instrumental jazz, and vice versa.
I wonder why that is?
They feel threatened by what they don't understand?
Huh? You'll have to explain further. It seems to me that not
understanding some work would leave you cold, not hating it, and not
threaten you at all. I feel much more threatened (as a jazz musician
and jazz lover) by so-called "smooth jazz" which I understand all too
well, and have to dance with, around, and to, way too often to suit
me.
Christopher
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