Eneathedevil

Ugh, what a touchy person. You didn't get that I wanted to go beyond your statement, to try and understand in what sense you should listen to the album and what use it would be to you... and still with this idle talk about listening... listen to whatever you want, but I mean, the JUDGMENT on the listening is subjective!!! If I listen to this record and I think it’s awful, and you instead think it’s a masterpiece, where’s the objectivity? Who's being honest? Me, Antonio, or you? Then I don't know why you digress, anyway it might also be that you don't want to tackle this discussion, see you next time, end of post smacks.

I didn't interpret anything, rather I asked you to clarify. And I quote: "to understand, however, if it is 'sincere' and 'accurate,' I must have listened to the album, but perhaps these are my limitations." And I re-quote: "I would be tempted to give a negative rating to the review for its approach and for some somewhat superficial considerations on pop and punk, but I suspend my judgment while waiting to hear the album." Am I wrong, or are you saying, as I stated, that you need to understand if a review is sincere IF and ONLY IF you have listened to the album? And the fact of listening to the album wouldn't lead you to give SUBJECTIVE evaluations, for which you might then give a 2 to the review based on YOUR personal judgment? And at this point I wonder: if you then listened to (conditional of possibility, I'm not saying it will happen) the album and claimed that Antonio is talking nonsense, who assures me that you are right? Who would give me certainty that you found an objective element to be able to judge? Perhaps I was a bit drastic, but if you assert that you must listen to the album to judge, well, you won't tell me that after listening to a record that seems good to YOU after being panned you would say: "Well, your review is as sincere as mine, everyone to bed." So it seemed clear to me that you were referring to an absolutely personal judgment from which, indeed, in your judgment, you cannot "disregard" (re-re-quote)... I've read all the comments, even though I don't know what they have to do with yours, which are only two, but allow me to tell you that the "hermeneut" does not deal with what you presume ;) kisses, don't make me cry.

Interesting, although I'm not quite sure about the image of darkness through the crystal ;) Seimpols?

@ Socrates: The concept of "sincerity" is not clear. What do you mean? You provided an explanation, but by stating that a review must be sincere to the extent that it reflects YOUR feelings (you say that before deeming a review sincere, you must listen to the album), it becomes a pointless discussion, where one's own opinion is central and turns into a yardstick for judging other opinions. As you said, perhaps these are your limitations (?). @ Hal: You also spoke about sincerity... how would you understand that a reviewer is sincere? Would you also need to listen to the album? How would you know that your level of disagreement would be subjective enough to rationalize your high rating nonetheless? Or rather: how would you discern that your opinions could be as valid as the reviewer’s, or that yours might be truths while the reviewer’s are nonsense? @ Humax4: I agree. Obviously, I will not delve into the content merits of the discussion.

P.S.= I don’t know how the album is, I don't mind Coldplay, but I agree with the overall view regarding the "good guys" and the "good songs" that are 3-4 minutes long.

Basically in agreement on everything, except for the possible arrival of a "herd of filthy and dirty punks"... let's leave them where they are! ;) However, you have raised an interesting question, maybe you have already discussed it, but since I've been here for the last two months, I propose it and ask you what you think makes a good review. Antonio's review is, for me, downright epidictic. It’s very precise, critical, and brimming with spite, yet with fair style. It prompts the question: can a slew of opinions that are not shared lead to a negative rating or judgment, if the review turns out to be well written anyway? For many, that’s the case; I, however, do not agree. Otherwise, I would be going around giving 1/5 to metal reviews ;)

Alright, you've laconically brushed it off. Alright, see you at the next battalion ;)

...Here the theater seasons go like this, and I'm certainly not talking from a small village in the Apennines, so it's pointless for you to make any more idle digressions with photos of who knows who. Then I don't understand if you can grasp what I'm saying: THE PEOPLE OF THE LOGGIONE UNDERSTAND MUSIC, THEY ARE THE ONES FROM THE THEATER WHO -perhaps- PREFER THE PERFORMANCE TO THE MUSIC! And still you go around posting pictures with those from the loggione, saying that they love theater and music, while I've been telling you for the last 200 posts that it is exactly like that! Oh well! Love you.

I can't see what??? Okay, with this sentence you have officially declared war on my calm persona! I mean, Hal, are you kidding? Apart from the fact that the link doesn't work for me, I gather that you want to show me some overly packed hall full of connoisseurs, conveniently in MILAN, on the occasion, if I’m not mistaken, of Abbado or someone like him! But what kind of issue is this? You go grab pictures from exceptional cases, from events where it’s obvious that people would even sneak into the bathroom of the hall just to see and/or hear something! It’s not logical to go hunting for specifics to draw a universal law; rather, you should consider the NORM, not in the sense of the opera, but in terms of the normal and usual performances of a theatrical season, where Abbado or someone like him isn't there every time and we aren’t necessarily at La Scala; just see what happens if in an entire theater season, out of 20 performances, they include a Tosca and a Così fan Tutte, but the other eighteen, as always happens, are La Figlia Del Reggimento, Maria Stuarda, Il Matrimonio Segreto, and I don’t know what other ridiculous ballets, directed not by an Abbado or a Mehta, but by some random unknown, with performances not by Freni and Domingo, but by any old newcomers... (continues)

Hal, I reiterate: the approach to the culture of the loggione is undertaken by few people, and mostly by those over 40; let's put it in these oversimplified terms: it's no coincidence that the loggione, if it exists, receives not many seats, often partly deserted (around here, we hunt primarily for tickets for the stalls and the stage, I don't know about you), and that the culture of theater I've already mentioned is much more established, appealing to casual connoisseurs who prefer the performance over the musical product.