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From www.bbc.co.uk/radio3 :
Why is opera so ridiculous ?
The Listening Service
Tom Service considers opera - capable of the greatest profundity and beauty, why is it so often also ridiculous ?
From Mozart to Birtwistle, Tom explores the highs and lows of this dramatic genre, and talks to two expert witnesses - the acclaimed comic writer Armando Iannucci, who is an opera-lover who sees the absurd side of it ; and international soprano Lore Lixenberg, star of the high-camp Jerry Springer : The Opera, who recently opened a singing café in Berlin called Pret A Chanter where customers must sing rather than speak.
Pret A Chanter is a post-internet real-time opera that seeks to blur the boundaries between art and life. Anyone who steps over the threshold must abide by the rules of the opera. The main rule is : No Speaking. Only Vocalisations other than speaking are allowed.
In the car, @tomservice, and then getting ready to be there, so needing to hear most of The Listening Service on @bbcradio3...— THE AGENT APSLEY (@THEAGENTAPSLEY) October 1, 2017
Download this for the journey to work tomorrow https://t.co/2plhY1odHc— BBC Radio 3 (@BBCRadio3) October 1, 2017
with @Aiannucci #BBCOperaSeason
Read a finals paper on tragedy - eight essays on it, back beyond 2, 500 yrs ago, via Aesychlus, Aristotle's Poetics, Seneca... Catharsis ? ?— THE AGENT APSLEY (@THEAGENTAPSLEY) October 1, 2017
A few miles from home, one reflects that academic research must have modified what Levsky (?) told us about Tragedy, but = 'goat-song'... ?— THE AGENT APSLEY (@THEAGENTAPSLEY) October 1, 2017
Close - this book, by Albin Lesky
Listened - whilst also reading about Catalunya, etc. - to what hadn't been heard of The Listening Service... :https://t.co/ZvZmM6GJtc https://t.co/MlFrFb7FDz— THE AGENT APSLEY (@THEAGENTAPSLEY) October 2, 2017
* What was going on already that The Player King in Hamlet, etc., tells us of ?— THE AGENT APSLEY (@THEAGENTAPSLEY) October 2, 2017
* And further back - Mystery plays and theatre at court ?
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Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
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