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I thought these were supposed to be Apolyton quotes.Christianity: The belief that a cosmic Jewish Zombie who was his own father can make you live forever if you symbolically eat his flesh and telepathically tell him you accept him as your master, so he can remove an evil force from your soul that is present in humanity because a rib-woman was convinced by a talking snake to eat from a magical tree...
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Originally posted by Boris Godunov
But you get docked a point for saying "von" instead of "van."
Originally posted by chegitz guevara
I thought these were supposed to be Apolyton quotes.
OK, picking a random quote from the board.
Originally posted by ???
Jeez, my posts are intended to be more light-hearted. Not intended as something serious. You're pathetic.veni vidi PWNED!
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Originally posted by Boris Godunov
Yup. Said to a fellow composer at the premier of an opera in Vienna. What a *****.
But you get docked a point for saying "von" instead of "van."“It is no use trying to 'see through' first principles. If you see through everything, then everything is transparent. But a wholly transparent world is an invisible world. To 'see through' all things is the same as not to see.”
― C.S. Lewis, The Abolition of Man
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Originally posted by pchang
And incredibly ironic considering Beethoven's own opera sucked donkey butt. What a conundrum. How can someone's symphonies be so good and their opera be so bad?
I'd say Fidelio is just as good an opera as Il trovatore or Manon Lescaut.Tutto nel mondo è burla
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I hated it. I think it is one of his worst major works. Only the cheesy stuff he did for the money was worse.“It is no use trying to 'see through' first principles. If you see through everything, then everything is transparent. But a wholly transparent world is an invisible world. To 'see through' all things is the same as not to see.”
― C.S. Lewis, The Abolition of Man
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Well, you're in a minority there, as most classical music folks recognize that, in spite of its problems, Fidelio is a terrific work. Once you get past the beginning scene, it's high drama and brilliant music.
The biggest problem is the singspiel format, which sucks. But that wasn't Beethoven's fault, since it was decreed by the Emperor at the time that all operas had to be thus. They make the beginning rocky, but once things get going, they are tolerable enough.
I like Sir Denis Forman's take on it:
From the prisoner's chorus (one of the most moving scenes in all of opera) onwards, the piece holds its power, we can tolerate the spiels and, indeed, the melodrame between Rocco and Leonore is a positive plus. The tension builds through the trio and quartet leading up to the trumpet call and then the joy and the passion of the Leonore/Florestan duet makes it the real climax of the opera. It is Beethoven's ability to make his absolute music pack such a dramatic punch that lends such enormous power to Fidelio: his passionate advocacy of liberty, his hatred of tyranny speak to us directly through the music and make Fidelio one of the greatest of all operas. Only the weakness of the beginning stops it from being an alpha-plus; [it's] a mighty alpha.Tutto nel mondo è burla
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