Hal

No, Enea, you’re mistaken; lyric poetry is Theater. Judging solely (as you say) based on listening to the CDs, you limit yourself to an important part of it, but still just a part. You miss the rest, and that is not trivial.

In perfect zk style :))))

The opera is a complex construction that involves, beyond the music of the orchestra and singing, also costumes, direction, lighting, scenery, and makeup. Furthermore, for listening, the lyric requires effort, concentration, and long periods of time, which today are increasingly unavailable at home, and fragmented listening does not serve well. It is only in the theater that I can truly appreciate it, grasping the overall sense of its components. Nowadays there are DVDs, true, but sometimes the "televisual" direction does not blend well with the theatrical one. The theater grants the spectator the "freedom of the eye," allowing them to choose (within a certain direction from the director) what to watch. While an aria develops, for instance, the spectator is free to focus on the tenor, as well as linger on a light effect, a movement by the extras, or the actions of other singers/actors on stage. The "televisual" direction, by its nature, makes cuts and close-ups, so you do not watch the opera with your own gaze but with that of the television director. Therefore, theater is always better, perhaps after giving the libretto a read before the performance. Goodbye.

I saw "Madama Butterfly" a few years ago in my city, which has had a strong focus and sensitivity towards the genre for decades. It’s a wonderful opera, although personally, I prefer Mozart (for me, Don Giovanni is the most beautiful opera ever written). Among Puccini's works, I have a particular love for Tosca, but as we know, everyone has their inexplicable favorites (even Rossini ...). I am familiar with the box set you are reviewing since I had it available some time ago (I remember the cover), but I must say that I don’t really love opera CDs that much because the beauty of opera for me is going to the theater. Just recently, for example, I bought Handel's Rinaldo, which is beautiful, but I would like to see its performance; merely listening to the disc feels limiting.

I'm sorry for you, dear Enea, but once again you have to forget about the brawl ;) The review is very nice, it boldly features opera on Debaser. One must acknowledge the courage to propose a genre that perhaps isn't very popular around here. However, I really can't say if it can be considered the same elsewhere. Opera has a large following of sometimes unexpected enthusiasts. It's a colorful and wide-ranging audience. Besides, there are various traditional theaters in Italy, frequented by crazy people who know not only the operas but a thousand different versions of the same, who are aware of the backstage, the gossip. This audience is far from cold (and small), on the contrary. Just think about the "cultura del loggione." There's a flourishing and intertwining of curious anecdotes about opera that people collect and share. I, for example, enjoy listening to different ones when I tune in at 1 PM on Radio 3 to catch those two wonderful crazies, Stinchelli and Suozzo (La barcaccia), who manage to create a radio program that can appeal both to the knowledgeable audience and to those only vaguely interested in opera.

I also found "devil & dust" a bit flat, even repetitive, but I haven't listened to it much; it deserves at least a second chance, just not now.

they couldn't miss some samples, hi

On this record, an infinite number of things could be said. Beautiful and fundamental. Revolutionary and unexpected. Brilliant and unique. It changed music. It's absolutely correct to say it made history. And what a lineup!! Davis, Coltrane, Evans... what legends! People who recorded music in two days that was destined to revolutionize everything that followed!! This isn't jazz, this is music! These are rare, unique masterpieces, timeless records, one of the manifestos of the 20th century. And today it's still alive, intense, warm, a splendid record. That beginning, that double bass so astonishing for those times. And the sound of Miles' trumpet? What is it? Pure art. It was one of my first jazz listens right after "now's the time" by Parker; at that time, my friends and I were crazy about this music and maybe we were a bit mad. It was a true obsession that fortunately has never left us. I'll tell you something, if you really love this record a lot, then buy the box set "Miles Davis & John Coltrane The Complete Columbia Recordings 1955-1961." It's 6 historic CDs in a beautiful box with meticulous attention to the detail of the booklet, and it doesn't even cost that much (around €50 if I remember correctly). A quick highlight on the wings of enthusiasm while it's playing in the background: "So What" is the foundation of the modal revolution as far as I know, it's a new way of conceiving improvisation. I don't think it's correct to talk about swing; maybe someone here knows more and can explain the differences to us. Bye!

Dear Frantz, I remember that when I wrote the review on Elliott Smith, you wanted to write it. This time it was your turn to get ahead of me, and I'm really pleased because the review is truly beautiful (I'll read it again), and I completely agree with it. Plus, I love this album. I got it just a few days ago, yet I'm constantly listening to it. It deserved to be featured here because it's one of the most beautiful and moving recent albums I've heard. Hi Frantz, and welcome back.

Anyway, this record for me either you’ve listened to it superficially (MP3... that says a lot... bah) or you haven’t listened to it at all, because your comments here and in the other review highlight it: they are empty, they are nothing. It’s not a problem for me “everyone is free to do what they want,” but please don’t annoy those who want to delve deeper into things. The rest you say, which I will skip, is also bullshit (translated for you: pure stronzate, verbose, fake calmness, etc.). Now is that clear to you? Do you need a little drawing? Sorry for the language, I usually don’t use it because I don’t find it necessary, but it seems to me it’s the only one you’re capable of understanding up there on the surface. Now please don’t annoy me anymore, especially with your childish jokes that are only good for hiding the emptiness of your arguments: you are completely free to remain on the surface of things, but don’t mess with those who prefer not to stay up there. Is that clear? If yes, good, otherwise, that’s too bad. And I’ll write greetings wherever I please if you don’t mind (but look at this...), so Take it easy, greetings, and have a good life (I’ll live mine, you yours: everyone gets what they deserve!).