Travelling all over the world, I have little time to get out of the dream that life is, a virtual reality dream or a real virtuality dream, a dream all the same in which you can easily get bruised by some spiritual projectiles that are sharper and more cutting than any knife in the world. Be careful when you go out not to fall on a bad bad badder boy or a mad mad madder girl who may turn you into … Mehr dazu
Travelling all over the world, I have little time to get out of the dream that life is, a virtual reality dream or a real virtuality dream, a dream all the same in which you can easily get bruised by some spiritual projectiles that are sharper and more cutting than any knife in the world. Be careful when you go out not to fall on a bad bad badder boy or a mad mad madder girl who may turn you into some kind of clown, fool or baboon. Think twenty times before speaking and turn your tongue in your brain twenty one time before thinking. And if you meet Bob Dylan's Lady Lay, make sure he/she has the gender you want and care for, because nowadays they have replaced two sexes by so many gneders you may get confused. And do not forget that any Dr, doctor or not, can be who knows what, you name it you have it.
Interessen
Music, opera, symphonic, chamber, amplified, electronic, and many others
Cinema, drama, and all kind of stage performances
Literature of all genres and all scientific writings
This essay is frustrating from the very start. It is treating the myth of Medea as a propaganda tool for feminism, what's more French feminism. "How can Medea's story be put into the context of French feminism?" and again, still in the introduction "In the context of French feminism, and especially Julia Kristeva's and Luce Irigaray's writings, Medea is viewed in a completely different light." This is pure anachronism since the myth of Medea appeared in writ for the first time with Euripides and it came, like all myths, from a long oral tradition. The point is to go back to that period and try to understand what the stakes were then in that region of the world, and not how we can or could… Mehr dazu
That production of this opera is superb and revives the music quite grandly. Of course that does not increase the variety of voices that still are three sopranos, fours tenors and one bass, or rather bass-baritone. It does not change the fact that the music is post-Mozart and pre-Verdi, hence it has lost the Mozartian creativity and had not reached yet the Verdian power. But the show is absolutely and flabbergastingly great.
The setting as a two-storied structure is a good materialization of the extremely hierarchical Greek society of the time on any kind of criteria: ethnic, social, or whatever. Greeks were the top provided they were free. The stage director visualizes this fact… Mehr dazu
This opera by Mayr is considered as the ancestor of Italian opera, meaning of course the Italian opera of the 19th century, hence post-baroque. I am a little bit surprised because it is rather short as for creativity, especially when compared with Italian operas.
The plot itself is heavily borrowed from Euripides. Medea is a monster, a barbaric monster who kills her children. The conclusion is more than clear: "Oh madre iniqua e barbara! Oh colmo d'empietà!" and again "oh dei! Che lutto! Che sanguinoso di!" Medea is thus accused and rejected because she is "iniqua", maybe shameless or even maybe soulless; "barbara", in the Greek meaning for sure of foreign but in the… Mehr dazu
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