Originally posted by MrGongGong
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ROH 'William Tell'
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Originally posted by Flosshilde View PostI suppose it depends on what your view of the director's job is. Are they there just to make sure people know when to come on stage and say/sing their lines & then go off? Or are they there to ensure that the production has a sense of theatricality and drama that will allow or encourage its audience to understand why the events portrayed are happening and what their meaning is?
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Originally posted by Flosshilde View PostOr are they there to ensure that the production has a sense of theatricality and drama that will allow or encourage its audience to understand why the events portrayed are happening and what their meaning is?It isn't given us to know those rare moments when people are wide open and the lightest touch can wither or heal. A moment too late and we can never reach them any more in this world.
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Originally posted by french frank View PostIsn't that the argument against the controversial scene? That it's an irrelevant distraction from the events portrayed? The scene is there because the director decided to put it there to illustrate a point that he had decided to make; but there is really nothing in the libretto to justify it and it isn't a theme within the opera?
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Originally posted by french frank View Postit isn't a theme within the opera?
So according to the ROH synopsis
The Swiss hero William Tell longs to liberate his people from the cruel Austrian occupation. When he helps a Swiss prisoner escape Austrian justice he comes to the attention of the governor Gesler – who sadistically forces Tell to shoot an apple off his son's head.
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Originally posted by MrGongGong View PostHummm
So according to the ROH synopsisIt isn't given us to know those rare moments when people are wide open and the lightest touch can wither or heal. A moment too late and we can never reach them any more in this world.
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Originally posted by french frank View PostThat's all right, but it's more about the personal cruelty of a despot than the savagery of war, isn't it? Gesler wanted to take revenge on Tell because he wouldn't bend his knee in front of Gesler's 'trophée'?
But surely it can be seen as a metaphor for more than just the actions of an individual?
Isn't one of the things about opera (or theatre, poetry and so on) that it addresses bigger issues?
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Originally posted by french frank View PostIsn't that the argument against the controversial scene? That it's an irrelevant distraction from the events portrayed?
The scene is there because the director decided to put it there to illustrate a point that he had decided to make; but there is really nothing in the libretto to justify it and it isn't a theme within the opera?
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Originally posted by MrGongGong View PostIsn't one of the things about opera (or theatre, poetry and so on) that it addresses bigger issues?It isn't given us to know those rare moments when people are wide open and the lightest touch can wither or heal. A moment too late and we can never reach them any more in this world.
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Originally posted by french frank View PostBigger than what? Is that the same as a director thinking, 'Now what 'bigger issues' could I address in my production?'? Can that mean 'bigger issues than are inherent in the original opera'?
Animal Farm is only an anthropomorphic tale about farm animals.
I was obviously mistaken in thinking that it was about something else as well?
I'm sure the opera will be able to cope and survive
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Originally posted by vinteuil View Post... ah, 'inherent'. Bit of a weasel word, nesspa? Who has authority to determine what 'inheres' in a pertickler work?It isn't given us to know those rare moments when people are wide open and the lightest touch can wither or heal. A moment too late and we can never reach them any more in this world.
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Originally posted by MrGongGong View Postaaah sorry
Animal Farm is only an anthropomorphic tale about farm animals.
I was obviously mistaken in thinking that it was about something else as well?
Flosshilde #68
You have decided that there isn't; the director & others in the artistic team are of a different opinion. I think they have probably made a closer study of the opera & thought more about what it is about than you have, & I'd rther trust their judgement
I rather suspect that in any opera production, decisions are made entirely on the work’s artistic merit.
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