Love is intertwined with madness in many literature and dramas. Tatiana’s passion for Onegin is certainly a case, demonstrated by her 12 minutes aria in the Letter Scene. Eboli’s dying wish to win Don Carlo’s heart is no doubt a sign of madness. Faithful Tosca killed Scarpia to save her lover, while Rigoletto risked his life to keep the honor of his daughter. Madam Butterfly sacrificed herself to a man who did not deserve her love.
It is also the case for I Puritani, where Elvira was mad at herself and her lover Arturo when Arturo ran away on their wedding day. In this myth of love, passion and faith, madness is behind the whole drama. Unfortunately, Anna Netrebko did not show up in the last night’s performance. But to a large extent, I think the Met’s new production is a decent play. Maria Callas became famous after her 1954 appearance in I Puritani, and the Met is current host an exhibition of her stage jewelries.
As the last opera of the short-lived genius Bellini, this bel canto is among the jewel of operatic collection. Bellini produced 7 operas during his life time of 34 years, and I Puritani was nevertheless his most mature and touching work. According to Wikipedia,
“ I puritani (The Puritans) is an opera in three acts, by Vincenzo Bellini. Text by Count Carlo Pepoli after Têtes rondes et Cavaliers by Jacques-François Ancelot & Joseph Xavier Boniface (known as Saintine). First produced at the Théâtre Italiens in Paris, January 24, 1835. At the same time, Bellini composed an alternative version intended for the famous Maria Malibran, who was to sing it in Naples; in fact, this version was not performed until April 10, 1986 at the Teatro Petruzzelli, Bari. Bellini died in Puteaux, near Paris of acute inflammation of the intestine, and was buried in the cemetery of Père Lachaise, Paris; his remains were removed to the cathedral of Catania in 1876. The Museo Belliniano, Catania, preserves memorabilia and scores.”
The whole play is a show of great tenors and baritones. There are two roles for baritone, Elvira’s uncle Giorgio and her unsuccessful suitor Riccardo, and a part for tenor—Elvira’s fateful lover Arturo. In the tradition of Bel Canto[1], the play nicely knitted the fates of individual and nation together and gave you a sense of doomed destiny. On one side, Elvira was mad for her love. On the other hand, Arturo was made for his attachment to Stuarts’ dynasty. The dominant political narrative changed the life trajectories of individuals, which imposed a great sense of tragedy—one can not change his/her fate by own effort. In this sense, madness becomes a part of love, a part which is beyond your control. It is just in so happened.
A drama can not go without love or madness or both, since they have to give a sense of extreme mental state—a state going beyond your reason and rationality, a state of holy madness. Basically, this transformative experience can not be easily obtained from routine life and have to have to meet in theatres. A drama integrates the extreme case of our living conditions and put our judgment and emotion under interrogation. The audience has a chance to live a life he/she could never be exposed to otherwise.
The history is no long cold and distance fact on the yellow pages; they become real before your very eyes. In three hours, you live through the history and the fate of its heroines and heroes. You gain this sense of being presence in the historical moment, on the verge of nervous breakdown, at the touching point of life and death. I see no better way to understand the greatness and limitations of human being.
This “living through the history” experience is not meant to give a fake sense of exotic, but rather provides a way to go inside one’s mind—force one’s heart to experience, to reflect, to suffer and to relieve. The drama leads you through the valley of death, the summit of happiness, the narrow stripe of jealous, and the incomparable state glory and achievement. Each performance is meant to be a spiritual shower and the tears you shed in the couple of hours are meant to purify your mind. I believe great art should somewhat give you similar experience, no matter what forms they take—an opera, a painting, a movie, a novel or a line of stanza.
Note: In the intermission, I had an interesting discussion with the old lady sat next to me about what the history and drama were. She suggested the drama was just a fictional interpretation of the history. Don Carlo or I Puritani is creation based on historical facts, but not the whole truth. But to my mind, there is not such a thing as a true history—everything was up to our own interpretation. It was not to say there were no such things as historical facts, but to suggest our interpretation of history depended on our own perspective. Who could a same war mean same thing for people on each side? As long as the interpretation makes good drama, I go for it. However, people should be responsible to their interpretation and hold accountable for their interpretation. Great historical writings are meant to be philosophical, as our guide to the uncertain future.
[1] Bel canto singing is characterized by a focus on perfect evenness throughout the voice, skillful legato, a light upper register, tremendous agility and flexibility, and a certain lyric, "sweet" timbre. Operas of the style featured extensive and florid ornamentation, requiring much in the way of fast scales and cadenzas. an Italian musical term, refers to the art and science of vocal technique which originated in Italy during the late sixteenth century and reached its pinnacle in the early part of the nineteenth century during the Bel Canto opera era. Rossini, Bellini, and Donizetti are the best-known exponents of this style, which flourished from approximately 1810 to 1830.
2007年2月17日星期六
Madness as Love
Bellini portrait
Love is intertwined with madness in many literature and dramas. Tatiana’s passion for Onegin is certainly a case, demonstrated by her 12 minutes aria in the Letter Scene. Eboli’s dying wish to win Don Carlo’s heart is no doubt a sign of madness. Faithful Tosca killed Scarpia to save her lover, while Rigoletto risked his life to keep the honor of his daughter. Madam Butterfly sacrificed herself to a man who did not deserve her love.
It is also the case for I Puritani, where Elvira was mad at herself and her lover Arturo when Arturo ran away on their wedding day. In this myth of love, passion and faith, madness is behind the whole drama. Unfortunately, Anna Netrebko did not show up in the last night’s performance. But to a large extent, I think the Met’s new production is a decent play. Maria Callas became famous after her 1954 appearance in I Puritani, and the Met is current host an exhibition of her stage jewelries.
As the last opera of the short-lived genius Bellini, this bel canto is among the jewel of operatic collection. Bellini produced 7 operas during his life time of 34 years, and I Puritani was nevertheless his most mature and touching work. According to Wikipedia,
“ I puritani (The Puritans) is an opera in three acts, by Vincenzo Bellini. Text by Count Carlo Pepoli after Têtes rondes et Cavaliers by Jacques-François Ancelot & Joseph Xavier Boniface (known as Saintine). First produced at the Théâtre Italiens in Paris, January 24, 1835. At the same time, Bellini composed an alternative version intended for the famous Maria Malibran, who was to sing it in Naples; in fact, this version was not performed until April 10, 1986 at the Teatro Petruzzelli, Bari. Bellini died in Puteaux, near Paris of acute inflammation of the intestine, and was buried in the cemetery of Père Lachaise, Paris; his remains were removed to the cathedral of Catania in 1876. The Museo Belliniano, Catania, preserves memorabilia and scores.”
The whole play is a show of great tenors and baritones. There are two roles for baritone, Elvira’s uncle Giorgio and her unsuccessful suitor Riccardo, and a part for tenor—Elvira’s fateful lover Arturo. In the tradition of Bel Canto[1], the play nicely knitted the fates of individual and nation together and gave you a sense of doomed destiny. On one side, Elvira was mad for her love. On the other hand, Arturo was made for his attachment to Stuarts’ dynasty. The dominant political narrative changed the life trajectories of individuals, which imposed a great sense of tragedy—one can not change his/her fate by own effort. In this sense, madness becomes a part of love, a part which is beyond your control. It is just in so happened.
A drama can not go without love or madness or both, since they have to give a sense of extreme mental state—a state going beyond your reason and rationality, a state of holy madness. Basically, this transformative experience can not be easily obtained from routine life and have to have to meet in theatres. A drama integrates the extreme case of our living conditions and put our judgment and emotion under interrogation. The audience has a chance to live a life he/she could never be exposed to otherwise.
The history is no long cold and distance fact on the yellow pages; they become real before your very eyes. In three hours, you live through the history and the fate of its heroines and heroes. You gain this sense of being presence in the historical moment, on the verge of nervous breakdown, at the touching point of life and death. I see no better way to understand the greatness and limitations of human being.
This “living through the history” experience is not meant to give a fake sense of exotic, but rather provides a way to go inside one’s mind—force one’s heart to experience, to reflect, to suffer and to relieve. The drama leads you through the valley of death, the summit of happiness, the narrow stripe of jealous, and the incomparable state glory and achievement. Each performance is meant to be a spiritual shower and the tears you shed in the couple of hours are meant to purify your mind. I believe great art should somewhat give you similar experience, no matter what forms they take—an opera, a painting, a movie, a novel or a line of stanza.
Note: In the intermission, I had an interesting discussion with the old lady sat next to me about what the history and drama were. She suggested the drama was just a fictional interpretation of the history. Don Carlo or I Puritani is creation based on historical facts, but not the whole truth. But to my mind, there is not such a thing as a true history—everything was up to our own interpretation. It was not to say there were no such things as historical facts, but to suggest our interpretation of history depended on our own perspective. Who could a same war mean same thing for people on each side? As long as the interpretation makes good drama, I go for it. However, people should be responsible to their interpretation and hold accountable for their interpretation. Great historical writings are meant to be philosophical, as our guide to the uncertain future.
[1] Bel canto singing is characterized by a focus on perfect evenness throughout the voice, skillful legato, a light upper register, tremendous agility and flexibility, and a certain lyric, "sweet" timbre. Operas of the style featured extensive and florid ornamentation, requiring much in the way of fast scales and cadenzas. an Italian musical term, refers to the art and science of vocal technique which originated in Italy during the late sixteenth century and reached its pinnacle in the early part of the nineteenth century during the Bel Canto opera era. Rossini, Bellini, and Donizetti are the best-known exponents of this style, which flourished from approximately 1810 to 1830.
Love is intertwined with madness in many literature and dramas. Tatiana’s passion for Onegin is certainly a case, demonstrated by her 12 minutes aria in the Letter Scene. Eboli’s dying wish to win Don Carlo’s heart is no doubt a sign of madness. Faithful Tosca killed Scarpia to save her lover, while Rigoletto risked his life to keep the honor of his daughter. Madam Butterfly sacrificed herself to a man who did not deserve her love.
It is also the case for I Puritani, where Elvira was mad at herself and her lover Arturo when Arturo ran away on their wedding day. In this myth of love, passion and faith, madness is behind the whole drama. Unfortunately, Anna Netrebko did not show up in the last night’s performance. But to a large extent, I think the Met’s new production is a decent play. Maria Callas became famous after her 1954 appearance in I Puritani, and the Met is current host an exhibition of her stage jewelries.
As the last opera of the short-lived genius Bellini, this bel canto is among the jewel of operatic collection. Bellini produced 7 operas during his life time of 34 years, and I Puritani was nevertheless his most mature and touching work. According to Wikipedia,
“ I puritani (The Puritans) is an opera in three acts, by Vincenzo Bellini. Text by Count Carlo Pepoli after Têtes rondes et Cavaliers by Jacques-François Ancelot & Joseph Xavier Boniface (known as Saintine). First produced at the Théâtre Italiens in Paris, January 24, 1835. At the same time, Bellini composed an alternative version intended for the famous Maria Malibran, who was to sing it in Naples; in fact, this version was not performed until April 10, 1986 at the Teatro Petruzzelli, Bari. Bellini died in Puteaux, near Paris of acute inflammation of the intestine, and was buried in the cemetery of Père Lachaise, Paris; his remains were removed to the cathedral of Catania in 1876. The Museo Belliniano, Catania, preserves memorabilia and scores.”
The whole play is a show of great tenors and baritones. There are two roles for baritone, Elvira’s uncle Giorgio and her unsuccessful suitor Riccardo, and a part for tenor—Elvira’s fateful lover Arturo. In the tradition of Bel Canto[1], the play nicely knitted the fates of individual and nation together and gave you a sense of doomed destiny. On one side, Elvira was mad for her love. On the other hand, Arturo was made for his attachment to Stuarts’ dynasty. The dominant political narrative changed the life trajectories of individuals, which imposed a great sense of tragedy—one can not change his/her fate by own effort. In this sense, madness becomes a part of love, a part which is beyond your control. It is just in so happened.
A drama can not go without love or madness or both, since they have to give a sense of extreme mental state—a state going beyond your reason and rationality, a state of holy madness. Basically, this transformative experience can not be easily obtained from routine life and have to have to meet in theatres. A drama integrates the extreme case of our living conditions and put our judgment and emotion under interrogation. The audience has a chance to live a life he/she could never be exposed to otherwise.
The history is no long cold and distance fact on the yellow pages; they become real before your very eyes. In three hours, you live through the history and the fate of its heroines and heroes. You gain this sense of being presence in the historical moment, on the verge of nervous breakdown, at the touching point of life and death. I see no better way to understand the greatness and limitations of human being.
This “living through the history” experience is not meant to give a fake sense of exotic, but rather provides a way to go inside one’s mind—force one’s heart to experience, to reflect, to suffer and to relieve. The drama leads you through the valley of death, the summit of happiness, the narrow stripe of jealous, and the incomparable state glory and achievement. Each performance is meant to be a spiritual shower and the tears you shed in the couple of hours are meant to purify your mind. I believe great art should somewhat give you similar experience, no matter what forms they take—an opera, a painting, a movie, a novel or a line of stanza.
Note: In the intermission, I had an interesting discussion with the old lady sat next to me about what the history and drama were. She suggested the drama was just a fictional interpretation of the history. Don Carlo or I Puritani is creation based on historical facts, but not the whole truth. But to my mind, there is not such a thing as a true history—everything was up to our own interpretation. It was not to say there were no such things as historical facts, but to suggest our interpretation of history depended on our own perspective. Who could a same war mean same thing for people on each side? As long as the interpretation makes good drama, I go for it. However, people should be responsible to their interpretation and hold accountable for their interpretation. Great historical writings are meant to be philosophical, as our guide to the uncertain future.
[1] Bel canto singing is characterized by a focus on perfect evenness throughout the voice, skillful legato, a light upper register, tremendous agility and flexibility, and a certain lyric, "sweet" timbre. Operas of the style featured extensive and florid ornamentation, requiring much in the way of fast scales and cadenzas. an Italian musical term, refers to the art and science of vocal technique which originated in Italy during the late sixteenth century and reached its pinnacle in the early part of the nineteenth century during the Bel Canto opera era. Rossini, Bellini, and Donizetti are the best-known exponents of this style, which flourished from approximately 1810 to 1830.
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