Olaf Unleashed
Actor Humanitarian Heartthrob Ultimate Dad
Actor Humanitarian Heartthrob Ultimate Dad
Madeline Lee is not an opera about war... In this opera none of the battles are won side by side. The only battlefield here is memory and how we manipulate it to survive.
JOHN HADDOCK
Composer
This opera is about sons looking for their fathers. ... It is about how men deal with their emotions and with each other. It talks of grief, anger, denial and loss. It is about memory and the construction of our individual realities.
MICHAEL CAMPBELL
Co-writer and director
Madeline Lee reaches beyond realism to become a metaphor for a deeply human dilemma: the discontinuity between memory and fact, and the painful process of reconciling our subtly edited version of the past with what really happened.
...
Its primary concern is the way we use dreams and delusions to manage our experience of human frailty, both physical and emotional, both in ourselves and in others.
JANET HEALEY © 2004
'A new opera for a new century'
In a word the merit of my libretto consisted, according to him [His Majesty the Emperor], in a pretty line here and there, or at most in a few happy arias...
Memoirs of Lorenzo da Ponte, translated by Elisabeth Abbott, 1929.
[Pierre-Augustin Caron de] Beaumarchais sums up his play [the comedy La folle journeé, ou le mariage de Figaro (1784)] in few words: "A great Spanish gentleman, in love with a girl whom he wishes to seduce, and the efforts that this fiancée, the man who she is to marry, and the wife of the seigneur unite in, to bring about the collapse of the designs of an absolute lord whose rank, fortune and prodigality make him powerful enough to accomplish them."
...
Le nozze di Figaro is above all an opera buffa, a work that sets off supremely those central concerns of humankind: love as opposed to lustfulness, generosity and loyalty rather than selfishness.
PETER BRANSCOMBE © 2001
"S*** happens" is a common slang phrase, used as a simple existential observation that life is full of imperfections
The whole joyous point [of Il barbiere di Siviglia] is that all the characters are opportunist monsters; this is why, gazing into the proscenium mirror, we all love it so much.
Rodney Milnes
'Barber black sheep', Spectator, 30 March, 1985
Preface
The artist is the creator of beautiful things.
To reveal art and conceal the artist is art's aim.
The critic is he who can translate into another manner or a new material his impression of beautiful things.
The highest as the lowest form of criticism is a mode of autobiography. Those who find ugly meanings in beautiful things are corrupt without being charming.
This is a fault.
Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope.
They are the elect to whom beautiful things mean only beauty.
There is no such thing as a moral or an immoral book. Books are well written, or badly written.
That is all.
The nineteenth century dislike of realism is the rage of Caliban seeing his own face in a glass.
The nineteenth century dislike of romanticism is the rage of Caliban not seeing his own face in a glass.
The moral life of man forms part of the subject-matter of the artist, but the morality of art consists in the perfect use of an imperfect medium. No artist desires to prove anything. Even things that are true can be proved.
No artist has ethical sympathies.
An ethical sympathy in an artist is an unpardonable mannerism of style. No artist is ever morbid. The artist can express everything.
Thought and language are to the artist instruments of an art.
Vice and virtue are to the artist materials for an art.
From the point of view of form, the type of all the arts is the art of the musician.
From the point of view of feeling, the actor's craft is the type.
All art is at once surface and symbol.
Those who go beneath the surface do so at their peril.
Those who read the symbol do so at their peril.
It is the spectator, and not life, that art really mirrors.
Diversity of opinion about a work of art shows that the work is new, complex, and vital.
When critics disagree, the artist is in accord with himself.
We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely.
All art is quite useless.
OSCAR WILDE
Copyright Bibliomania.com Ltd 2000
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