ROH 'William Tell'

[jean]

If you saw it in the cinema, you'll have had the added bonus of an interview with Simon Biazeck, who was singing in the chorus - which is one of the glories of the production; well sung, and remarkably well acted.

[Flosshilde]

Just close your eyes at certain points and think of what the music suggests to you, and all will be well.

I didn't feel any need to close my eyes. I don't think any person interested in the drama would.

[Barbirollians]

I didn't feel any need to close my eyes. I don't think any person interested in the drama would.

Were you at the Monday performance when so many people were offended Flosshilde or have you seen the toned down version ?

[Simon Biazeck]

If you saw it in the cinema, you'll have had the added bonus of an interview with Simon Biazeck, who was singing in the chorus - which is one of the glories of the production; well sung, and remarkably well acted.

Thanks, Jean! It was all go today. I think the most stressful thing was having to do the clean up (so much blood!) and change after the Rütli oath scene in half the time to get to the interview. In the end I was standing there in the scene dock for ten minutes working up a sweat.

[MrGongGong]

You do go on rather.

That's what a MESSAGEBOARD is for
you know, messages about stuff you are interested in

[jean]

...I think the most stressful thing was having to do the clean up (so much blood!)...

I have to say that all that blood-smearing was one of the things I had reservations about, especially as the production seemed to be set during WWII (rather than the Bosnian conflict, as was suggested earlier in this thread).

That, and the appearance of the ghost of the elder Melchtal, which reminded me of nothing so much as hammy productions of Macbeth where Banquo's ghost really does shake his gory locks art the audience.

But these are minor objections.

[aeolium]

I have to say that all that blood-smearing was one of the things I had reservations about, especially as the production seemed to be set during WWII (rather than the Bosnian conflict, as was suggested earlier in this thread).

Both the Telegraph reviewer (Christiansen) and Michael Church in the Independent mentioned that the production was updated to 1990s Bosnia, and presumably were relying on information in the programme, but perhaps someone who attended a live performance could confirm that.

[jean]

Were they really all wearing those Fair Isle knitted waistcoats in Bosnia in the 1990s?

[Prommer]

I didn't feel any need to close my eyes. I don't think any person interested in the drama would.

Not normally, no. But at certain points it becomes necessary, where the music and the drama jar so much.

[Prommer]

That's what a MESSAGEBOARD is for
you know, messages about stuff you are interested in

Yes, I do understand what a Messageboard is for, but some are now just repeating themselves endlessly in a futile quest to have the last word!

[Giacomo]

Were they really all wearing those Fair Isle knitted waistcoats in Bosnia in the 1990s?

Yes, it's defiantly in the libretto, perhaps you only saw the cut version. Guillaume sings to Arnold, urging him to rebel:

"Nous somme enveloppait par a mode terrible envoyé à partir d'une équitable île"

[jean]

But surely they were sending them much earlier than the 1990s?

[MrGongGong]

Yes, I do understand what a Messageboard is for, but some are now just repeating themselves endlessly in a futile quest to have the last word!

I don't see anyone repeating themselves much
there isn't a "last word" to have
and there is much to explore

[teamsaint]

I don't see anyone repeating themselves much
there isn't a "last word" to have
and there is much to explore

there is a huge amount to explore. Perhaps a different thead ?

I was listening to a performance of the Franck Violin Sonata recently which was given what felt like a very jazz/blues type treatment, and I found myself wondering if this was really in line with the composers intention. Or how he would have responded to it. or how he would have responded had he lived another 50 years. or if it matters.or if I really knew the piece well enough to even bother asking the question.

Dub would be an interesting area for discussion too.

Dub Franck. Now I would give THAT a spin !

but seriously off topic.

[teamsaint]

Interesting

So to what degree do people feel that the composers intentions are sacrosanct?

I heard a paper a couple of weeks ago at a conference where it is possible to demonstrate (and convincingly measure) whether there are elements in musical composition that are really there but the composer has no awareness of their presence. This was talking mostly about underlying rhythmic structures in music which was intended to be without pulse but I think it applies to other elements as well.

(and what Cage said about Indeterminancy)

I don't think it moves my 'analogy' away at all
someone was complaining that



(i'm not going to post a link to the terrible Cliff Richard song with the title of the play with a bear )

critical theory has something to say about this. But I probably bang on about it too much.

Edit: some interesting thoughts here

https://books.google.co.uk/books?id=0rTJKxc0q8oC&pg=PA237&lpg=PA237&dq=how+robust+are+musical+works&source=bl&ots=ftkmwv5qXI&sig=AHfMFGUMe-xEhlJHIq8_KqvvXxA&hl=en&sa=X&ei=drGaVbr9Dsbg7QaxrrmwAg&ved=0CFkQ6AEwCA#v=onepage&q=how%20robust%20are%20musical%20works&f=false

and on P241 touching on the role of the listener , and what audience bring to a performance.