Word: passions
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Dates: during 1960-1969
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Desire Under the Elms, by Eugene O'Neill. The arena stage is not a very intense setting for this lacerating drama of greed, incest and infanticide on a New England farm, but an able company headed by Colleen Dewhurst pours the molten lava of passion over...
Baroque opera laid the ground for all music drama that was to follow it, contended Leo Schrade at his fourth Norton lecture last night. The aim of all opera from then on was, he said, the declamation of human passion...
...also used fate as the criterion for determining the character of the tragedy which a musical drama conveys. Baroque opera, he said, held "not providence, not moira, but man himself" as the source of fate, for man lived, in their view, "under the sway of the demon of his passion...
This style set the "basic potential of dramatic expression in music" which all later composers accepted, Schrade claimed. He called Gluck's attempts to reform this style "fruitless discussion," and said that in Wagner's music dramas "unbridled passion still remained the basis." If Mozart did not write a "full-blown" tragedy in Don Glovanni, the opera at least "betokened the features of tragedy" because "no sharp bound can be set where comedy ends and tragedy begins...
...with a lodger, and in destroying the lover's symbol of superiority, his car, the lad is badly burned. Fifteen-year-old Shirley (Sarah Miles) has been starved of love by her family; she lets a gentleness on Weir's part toward her desires to learn kindle a puerile passion for him. The passion must be dashed, and the result is an unpleasant trial of the teacher for indecent assault. Acquittal does not save Prometheus's reputation, and Weir is forced to destroy one principle, truth, to save even his marriage. The camera moves in for a close...