Gay serious com salzburg

gay serious com salzburg

He did not see the original Italian version of the opera, but the revised French one and quite likely with the same cast as in Paris. But, he thought that Verdi really did not get the somber spirit of the Bard. Maybe less materialistic is the explanation it gives.

The terms of its tracing are mytho-psychological. First, is their inability to have children. However, many gay male gay couples face the same drama. Are they wicked, too? So did Lady Macbeth in the play, since she states she has known the sensation of a baby sucking on her nipples.

However, the historical figure also had to bear the first name of Grouch. Macbeth is also a less ostentatious Oedipus. He is also Herod, and Macduff is St. Joseph and so on, and so on. These are places where we are taught to behave in a certain way, in order to be acceptable in modern society.

Rightfully, the staging tries to express how these experiences of indoctrination can have, within themselves, something of a brutalizing effect that ultimately makes for barbarism. They cannot inhabit society, through no fault of their own. At the end of the second act, we are forced to watch a dinner scene with a series of babies served on silver plate.

The babies are, of course, just plastic dolls to enhance the uncanniness of the experience. Then, this heart-burning meal is projected on the grand curtain as the public head to their well-deserved bathroom breaks. In fact, it might allude to the violent power within Jacobean and Elizabethan plays.

Gay serious com: seriöse partnersuche in salzburg?

The main issue is that more than once, I found myself still in search of Verdi. The problem is that such set designs are not acoustically efficient. The Vienna State Opera chorus only achieved that overwhelmingly scary sonority in the third act finale, or when they were placed outside the stage and in the corners of the orchestral pit.

The Vienna Philharmonic Orchestra was still making a loud wall of sound. However, this was more appropriate to Verdi than to the other composers they have performed at the festival. Mozart, for instance, or even Alban Berg. Philippe Jordan has a very interesting reading of the opera.

The tempi have something mystic about them, creating an atmosphere that is both oneiric and nightmarish. During the prelude, there was a sense of malaise. A major issue, especially for the protagonist couple, was the Italian pronunciation. It is understandable that operatic singing distorts vowels and consonants for the sake of better phrasing or for a more comfortable use of the voice.

This has happened since opera began. However, there were moments in which such phonetic concessions were so striking that it was difficult to grasp the text. This is evident even in the recorded fragments available online.