Here’s the trailer to an operatic scandal that dominates page 3 of today’s London Times:
And this is another of Florrie Holzinger’s creations:
Take a breath. Here’s a straight version.
The US violinist has announced she is still…
The Doric String Quartet, on the road since…
The Teatro Colón in Buenos Aires has appointed…
The indefatigable musician is resting at home in…
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I’m pretty sure Hindemith wasn’t a notorious lesbian, as per the title of this article…
Self-inulgent crap……yet again.
That’s not accurate: the second video is NOT Sancta but a completely different show.
Too much vibrato
Sorry but this is just ridiculous & disgusting…. supposedly meant for the jaded senses of the blasé bourgeoisie.
One of the students at the University of Bangor is writing, I hear, an opera about Offa’s Dyke.
I was skeptical reading the title of this post, but wow, the production quality is actually top-notch. It looks absolutely innovative and made to shock, but goes well with Hindemith’s music. At the very least, it’s got people talking about classical music, which is an achievement in and of itself.
The author of this comment seems to think that talking about lesbian nuns having a good time is talking about classical music.
Not exclusively. But you do know that this expressivist opera is about nuns, right? A big part of operas is the production, so it’s indeed natural to talk about how this particular production was staged and directed. I think given your conservative mindset, you don’t disapprove simply of this production, but you do not like Hindemith, and you wouldn’t have approved this opera when it was first created, so let’s not pretend your outrage has anything to do with operas or classical music, but rather your narrow mind.
Mmmmm…… who says I have ‘a conservative mindset’? Or that I don’t like Hindemith. and therefore have ‘a narrow mind’? On the basis of disapproving a ridiculous staging? The author of this silly comment seems to be someone who loves novelty and the attempts to shock, so: entirely in tune with the fallacy of the last century that music, and thus also opera production, should transcend boundaries, shock audiences, etc. etc. – but ignorant of the fact that this ideology came into existence shortly after WW II and has become completely conventional and outdated by now. With every boundary be transcended, new boundaries have to be found to transcend. WIth every shock, new shocks have to be devised, because novel shock value merely happens one time. And people forget. How come? Because novelty for its own sake, and shock value, are not artistic values, but belong to the wrapping paper, to be forgotten in the long run. So, as with dementia, the world seems really new every day again.
Caterwauling is caterwauling – no matter how you dress it or undress it!!
The spinning midget pope though.
I was most offended by the footlong…
…vibrato. : )
So predictable that people who have zero clue what the opera is about are criticizing the production.
It’s about nuns, celibacy and lust. Given Hindemith’s struggles getting it performed in the 1920s and as someone who generally leaned into controversy, he’d likely approve of the production.
Nonsense.
This opera can be produced entirely decently, giving priority to the psychological drama as carried and expressed by the music. It can even be done tastefully, without impairing the plot. It is the music which is the means to get the audience engaged, not silly shock staging, that is on a juvenile level.
Infinitely preferable to the antisemitic garbage produced in Bayreuth