Word: librettos
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Dates: during 2000-2009
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...into a musical? RK: The idea of writing this opera for children grew out of the fact that all the barriers between classical music and the general public—however great they are for adults—are even greater for kids. I wanted to pick an opera libretto that every child would know. Every kid in America has said, “I am Sam. Sam I am.” I knew that millions of kids and families would flock into a concert hall, because they know every word by heart, but they’ve never...
...eventually, to an insane asylum. Along the way stops are made in a brothel owned by Mother Goose and at Tom’s wedding to Baba the Turk (Sofia M. Selowsky ’12), London’s most renowned bearded lady.While Auden’s libretto for the most part lacked the moroseness so typical of other renderings of the Faust legend, it stayed true to the deeply introspective nature of the story. Auden’s poetic mastery enabled the libretto to flourish where so many other English writers have failed—namely, in creating...
...difficulty of the vocal writing, which can be virtuosic and unidiomatic at times, and also the difficulty of the orchestra parts,” Kim said. “However, it was our first choice from almost the beginning of the selection process because of the quality of the libretto, the varied and interesting storyline, and the attractiveness of the music.” “The Rake’s Progress” is based on a series of mid-18th century paintings by William Hogarth that Stravinsky viewed in Chicago. Stravinsky collaborated with two poets, W.H. Auden...
...work is the fruit of a genuine romance between the opera's composer, longtime Costello keyboardist Steve Nieve, and the writer and psychoanalyst Muriel Teodori, who wrote the Franco-English libretto. First released as a Deutsche Grammophon recording in 2007, the opera recounts the story of Greek immigrant steelworker Dionysos (played by a bearded Sting), who falls in love with an opera diva, much to the consternation of his blue-collar buddies. His stalker-like obsession nearly gets him incarcerated by the police commissioner (a hulking, black-robed Costello), but with a little supernatural intervention by the ghosts of operas...
...whether scared or profane. However, in the ears of critics at the French dailies, the experiment has proved to be less than pitch-perfect. Le Figaro, for example, declared Welcome to the Voice "rock and opera's wedding gone wrong," slipping into "platitudes." Meanwhile, the daily Liberation, criticized the libretto's "naivete...