Painter, musician, bibliophile...
In this brief introduction Johnson takes us from the opening e-flat of the Das Rheingold to the consuming flames of Götterdämmerung. Discussions of staging, orchestration, plot development, mythic elements and more are interspersed with musical excerpts.
Wagner designed the tetralogy to begin with the Vorabend, (a "preliminary evening") in which Das Rheingold is perfomed, followed by the succession of the operas Die Walküre, Siegfried, and Götterdämmerung. Johnson makes an admirable presentation of each part of the cycle without excessive digression.
Of course, countless volumes have been devoted to the discussion of meaning, leitmotif, scoring, and all things Wagnerian, should one want to look deeper. But for a brief discussion of Ring essentials, look no further.
These operas share a somewhat daunting reputation. Even opera fans have been known to quaver before Valhalla! But don't be one of them. Listen to this book, then jump right in. Some of the most beautiful music ever written awaits you.
If you had crossed Bizet's path in 1875, the year "Carmen" was first staged, you would have met with a plump, bespectacled Frenchman who was forever nibbling sweet delicacies. But while you might overlook this unassuming person, you could not have ignored his music.
From early childhood, Bizet possessed prodigious talent. In the Conservatoire at nine, and winning every prize going, he worked his magic on a variety of instruments. At the age of 19, he won the Prix de Rome. With innate musical taste, judgment, and imagination, he stands above his contemporaries.
As this program points out, Bizet was no "one trick pony." He'd written most of his work before anyone had heard of "Carmen," and some of this sadly neglected work deserves rediscovery and appreciation, such as his opera "The Pearl Fishers."
Harold Schonberg wrote, "Carmen is an opera of passion, power, and truth, infinitely superior to the carefully arranged, prettily served canapés of Gounod and Massenet. They were skilled professionals. Bizet was a genius."
Tchaikovsky and Brahms were fans of "Carmen," too. Wagner, having heard it, said of Bizet, "At last, for a change, someone with ideas in his head!"
All this makes it the more stunning that this perennial favorite did not meet with immediate success. "Carmen" was called "immoral," and accused of being (even worse) "Wagnerian."
In this excellent program, David Timson brings the spectacle of "Carmen" vividly to life, with reference to many important excerpts, the fast and furious scene changes demanded by the complex action, and so much more.
If you're fortunate enough to be going to see the opera or just want to understand it better while you listen at home, you can't go wrong with this exploration of "Carmen essentials."
This was the first opera I heard (at the age of nine) and it left me forever in love with opera itself. My French wasn't under firm control, and I couldn't really understand everything that was happening, but that music! I have never forgotten it. Such is the power of Bizet.
Why is this opera called "The Bat?" In a nutshell, two gentlemen, Eisenstein and Falke, in the costumes of a butterfly and a bat, respectively, attend a winter masquerade. On the way back, Eisenstein, taking advantage of Falke's inebriated state, abandons him far from his home. When he wakes up, he has to walk through the town in his bat costume, to his undying embarrassment and the amusement of his fellow citizens. Naturally, he wants to get his own back, and it is for this reason the opera is called, "The Bat."
From this simple premise, the plot becomes "maddeningly complex," as the author rightly says. There are "multilayered and omnipresent infidelities," disguises, deceptions, drinking, dancing, and entirely too much carrying on. An opera featuring "Adele's Laughing Song" should be fun!
As with so many things that seem effortless, back-breaking work goes before. While Johann Strauss II hadn't much experience writing for the theatre before he composed this, you'd never know it. He has more than a few operatic tricks up his sleeve, including the masterful use of crescendo and accelerando. The author brings attention to Strauss' use of rubato, which he refers to as "stealing time to avoid schmaltz." Some of the roles require nothing less than a virtuoso performer. But the result is accessible, light-hearted, and fun.
A bottle of champagne to David Timson for his narration, and to you should you tackle "Die Fledermaus" during this, its rightful season!