Today we saw the Met's HD broadcast of "Lucia di Lammermoor." Unlike "Thaïs," this broadcast went without a hitch. (By the way, the rebroadcast of "Thaïs" had no problems. And Ms. Fleming didn't even throw in any of her annoying, jazzy swoops.)
Well, the broadcast went without a hitch. The poor Met is having troubles with their cast again. (You might remember that last season's "Tristan und Isolde" had six performances and about that many different combinations of singers in the title roles.) This was the fourth performance in the run of Lucia and they've already had three different Edgardos. The original singer apparently has ruined his voice and was replaced (they said that he is "ill"). Today's replacement seemed to do a very good job (at least to my untrained ear). As did Anna Netrebko as Lucia.
The production was nice. And the camera always looked at what was important and didn't make me grumpy.
So it was a nice time at the opera.
Showing posts with label opera. Show all posts
Showing posts with label opera. Show all posts
Saturday, February 7, 2009
Sunday, January 25, 2009
It was a day of operatic proportions
Yesterday was a day of opera.
We got up, ate breakfast (steel cut oats), had coffee, and drove to Mira Mesa to see the Met's HD telecast of Mark Morris's production of Gluck's "Orfeo ed Euridice". I love baroque opera! And this didn't disappoint me. Sometimes, the camera work annoyed me. Especially when they did close-ups of the dancers' feet when I thought that seeing all of the dancers would have been more appropriate.
The singing an music were wonderful. And it was fun (though sometimes distracting) to pick out the historical figures that made up the chorus. Who would have expected ever to see Jimi Hendrix singing at the Met?
Jerry doesn't like park and bark so it was an almost agonizing hour and a half for him.
Then came the curtain calls. Mark Morris took a bow. He should not raise his arms in exultation unless he has either tucked his shirt firmly into his pants or is wearing his muumuu. That belly is not attractive.
We then went to lunch and home. I did two loads of laundry.
Then we got back in the car and headed south again. We stopped at Starbucks on the way down because we didn't think of making our evening coffee at home before we left. We had supper at El Indio (am I making you jealous?) then went to San Diego's Civic Theater to see the opening night of San Diego Opera's 2009 season.
We saw Puccini's "Tosca." This time Jerry was more satisfied than I was. We decided that we'd get better seats this year. We had been in the balcony for many years. Now we're sitting in the Dress Circle. So we got a better view of the stage. I don't know if the sound goes up to the balcony better than the back of our new section. Things sounded muffled to me. I don't know if the singers weren't as powerful as they needed to be or if the downstairs just sucks up the sound.
The big close of Act I, the Te Deum, wasn't big. The chorus was crammed into a small space behind the altar so we couldn't really see much of them and their sound was muffled even more by the scenery that was between them and us. And Scarpia's declaration that Tosca makes him forget God sounded to me more like a simple comment than a major bit of blasphemy.
At the end of Act II Tosca flopped Scarpia's body onto his back to get to the safe passage document and keys and she left. No candles around his body. She just left. Dull.
Tosca's telling Scarpia that they'll meet before God at the end of Act III again came off as a minor comment. She did make a nice leap to her death.
Maybe the Dress Circle isn't the place to listen to the opera. But the view of the stage is much nicer.
It was a lotta opera. We have another double bill later this year.
We got up, ate breakfast (steel cut oats), had coffee, and drove to Mira Mesa to see the Met's HD telecast of Mark Morris's production of Gluck's "Orfeo ed Euridice". I love baroque opera! And this didn't disappoint me. Sometimes, the camera work annoyed me. Especially when they did close-ups of the dancers' feet when I thought that seeing all of the dancers would have been more appropriate.
The singing an music were wonderful. And it was fun (though sometimes distracting) to pick out the historical figures that made up the chorus. Who would have expected ever to see Jimi Hendrix singing at the Met?
Jerry doesn't like park and bark so it was an almost agonizing hour and a half for him.
Then came the curtain calls. Mark Morris took a bow. He should not raise his arms in exultation unless he has either tucked his shirt firmly into his pants or is wearing his muumuu. That belly is not attractive.
We then went to lunch and home. I did two loads of laundry.
Then we got back in the car and headed south again. We stopped at Starbucks on the way down because we didn't think of making our evening coffee at home before we left. We had supper at El Indio (am I making you jealous?) then went to San Diego's Civic Theater to see the opening night of San Diego Opera's 2009 season.
We saw Puccini's "Tosca." This time Jerry was more satisfied than I was. We decided that we'd get better seats this year. We had been in the balcony for many years. Now we're sitting in the Dress Circle. So we got a better view of the stage. I don't know if the sound goes up to the balcony better than the back of our new section. Things sounded muffled to me. I don't know if the singers weren't as powerful as they needed to be or if the downstairs just sucks up the sound.
The big close of Act I, the Te Deum, wasn't big. The chorus was crammed into a small space behind the altar so we couldn't really see much of them and their sound was muffled even more by the scenery that was between them and us. And Scarpia's declaration that Tosca makes him forget God sounded to me more like a simple comment than a major bit of blasphemy.
At the end of Act II Tosca flopped Scarpia's body onto his back to get to the safe passage document and keys and she left. No candles around his body. She just left. Dull.
Tosca's telling Scarpia that they'll meet before God at the end of Act III again came off as a minor comment. She did make a nice leap to her death.
Maybe the Dress Circle isn't the place to listen to the opera. But the view of the stage is much nicer.
It was a lotta opera. We have another double bill later this year.
Saturday, December 20, 2008
Thaï-ï-ï-ï-ï...
Today we went down to Mira Mesa to see the Metropolitan Opera's broadcast of "Thaïs" in High Definition. Things were going well. Athanaël had gotten spiffed up and was ready to try to convert Thaïs. Just as Thaïs (sung by the latest Lacroix supermodel, Renée Fleming) was about to make her appearance things changed to very low definition. No sound, very few pixels, no picture, snippets of sound, a few pixels.
Someone came in and hollered that they were going to let it continue like this till the intermission when they'd reestablish their connection with the satellite. When the intermission was about to end he came back and said that things were hopeless. We could stay and enjoy the big pixels and no sound or we could get a refund or exchange for the replay on January 7.
We're going to try again on the 7th . Wish us luck.
Wednesday, November 12, 2008
Sirius XM
The Sirius and XM channels with similar programming were consolidated today. Sirius didn't have a channel devoted to music of the '40s so that is a nice thing to get from XM. Other than that there wasn't much coming from XM that I noticed that I'm excited about.
But you with XM receivers are now getting Met Opera Radio. I am so happy for you! From September to May you'll be hooked to your radio four times a week. Tonight they're broadcasting "La traviata" for the umteenth time this season but I listen again and again. The intermission interviews are always interesting (except when Will Berger gets involved).
Tomorrow you have your last chance to hear Doctor Atomic. Don't miss it. I'll probably listen again but I haven't been thrilled with it. Even seeing it at the broadcast to the movie theaters last weekend didn't help much. The music was interesting but the vocal parts never interested me. Except the Act I finale, "Batter my Heart," was almost interesting. But you Los Alamosers should listen just because it happened there.
Welcome to Met Opera Radio!
But you with XM receivers are now getting Met Opera Radio. I am so happy for you! From September to May you'll be hooked to your radio four times a week. Tonight they're broadcasting "La traviata" for the umteenth time this season but I listen again and again. The intermission interviews are always interesting (except when Will Berger gets involved).
Tomorrow you have your last chance to hear Doctor Atomic. Don't miss it. I'll probably listen again but I haven't been thrilled with it. Even seeing it at the broadcast to the movie theaters last weekend didn't help much. The music was interesting but the vocal parts never interested me. Except the Act I finale, "Batter my Heart," was almost interesting. But you Los Alamosers should listen just because it happened there.
Welcome to Met Opera Radio!
Sunday, May 11, 2008
The Pearl Fishers
Today we saw Bizet's "The Pearl Fishers" performed by the San Diego Opera. It was their production by Zandra Rhodes that I was afraid was going to be a lot of gawdy costumes in lurid colours but it turned out to be much nicer and subdued than I had expected (though full of color).
It's a minor opera with a few good tunes that were sung well.
Here's the most famous of the tunes, "Au fond du temple saint," performed at the Met's James Levine 25th Anniversary Gala.
It's a minor opera with a few good tunes that were sung well.
Here's the most famous of the tunes, "Au fond du temple saint," performed at the Met's James Levine 25th Anniversary Gala.
Sunday, April 20, 2008
Heavens to Betsy, it's Aida!
Today we got to see the San Diego Opera's production of Aida. This is grand opera in a not so grand production. The Triumphal Scene left something to be desired. The stage was filled but it still seemed small. They had about 20 Ethiopian prisoners and most of them were women and children. They didn't seem to be much of a threat to the Egyptians. I'd like to see it at the Met.
The singers were hard to hear much of the time. Amneris seemed to hold back until the end. When she had her big scene during Rademes' trial she finally sounded good. I had a hard time hearing Aida and Rademes over the orchestra except for the tomb scene where things are rather quiet.
During "Celeste Aida," I was having a very hard time hearing Rademes and I cupped a hand around an ear but that didn't help. At one point he either forgot the words and just mumbled some syllables or was just way too quiet.
Years ago we went to an opera where a person sitting next to us literally cupped his ears in order to hear better. He had some Dixie cups that he had cut some notches in and hooked them onto his ears. I wonder if that helped. And I wonder if he carried Dixie cups with him to the theater all the time. He sure looked goofy but it was in the back row of the theater so nobody should have seen his improvised hearing aids.
The singers were hard to hear much of the time. Amneris seemed to hold back until the end. When she had her big scene during Rademes' trial she finally sounded good. I had a hard time hearing Aida and Rademes over the orchestra except for the tomb scene where things are rather quiet.
During "Celeste Aida," I was having a very hard time hearing Rademes and I cupped a hand around an ear but that didn't help. At one point he either forgot the words and just mumbled some syllables or was just way too quiet.
Years ago we went to an opera where a person sitting next to us literally cupped his ears in order to hear better. He had some Dixie cups that he had cut some notches in and hooked them onto his ears. I wonder if that helped. And I wonder if he carried Dixie cups with him to the theater all the time. He sure looked goofy but it was in the back row of the theater so nobody should have seen his improvised hearing aids.
Saturday, April 5, 2008
La bohème
Today's Metropolitan Opera broadcast of Puccini's La bohème was great. The singing was great. The Franco Zeffirelli production was mind-boggling. This time even the camera work was good. They didn't keep us looking only at the principals. In the Café Momus scene they let us see a lot of the activity that was going on around the lovers. And it's a good thing I had my tissues. The end really gets my eyes and nose running no matter how many times I've seen or heard it.
The first time I saw La bohème was at the Santa Fe Opera. One day I was in the Mesa Public Library and ran into one of my little high school group who said she and her mother were going to the opera that night and her father wasn't going to be able to make it. She asked if I wanted to use his ticket. Well, yes, I'd like to see the opera.
So they picked me up that evening and we saw the opera. On the way home we talked about how it affected us. When they dropped me off it was time to settle the bill.
I had thought that it was a situation where they had a spare ticket that they didn't want to go to waste and they had found a friend who would appreciate being treated to the opera. But no, it was a situation where they found a buyer. They didn't make that clear when the offer was made. (I think I had enough money with me. Maybe I had to settle later.)
I'm surprised they didn't ask for gas money as well.
The first time I saw La bohème was at the Santa Fe Opera. One day I was in the Mesa Public Library and ran into one of my little high school group who said she and her mother were going to the opera that night and her father wasn't going to be able to make it. She asked if I wanted to use his ticket. Well, yes, I'd like to see the opera.
So they picked me up that evening and we saw the opera. On the way home we talked about how it affected us. When they dropped me off it was time to settle the bill.
I had thought that it was a situation where they had a spare ticket that they didn't want to go to waste and they had found a friend who would appreciate being treated to the opera. But no, it was a situation where they found a buyer. They didn't make that clear when the offer was made. (I think I had enough money with me. Maybe I had to settle later.)
I'm surprised they didn't ask for gas money as well.
Sunday, March 30, 2008
Cav/Pag
Today we got to see San Diego Opera's production of the double bill Cavalleria rusticana and Pagliacci (abbreviated "Cav/Pag").
Cav has some wonderful orchestral and choral parts. For me, the story and characters are not terribly interesting and I didn't really care that the cad Turiddu dies at the end nor that his shamed, tattletale girlfriend is left without a boyfriend. And none of their songs really does anything for me. Mamma Lucia is about the only character who I can feel sorry for but her part is too small to give me a chance to really care much. The orchestra, conducted by Edoardo Müller, played well and the chorus did a good job. Richard Leech sang Turiddu. I guess he did a good job. He sounded a bit hoarse for a while.
Pag, on the other hand, has characters I think are interesting, though not terribly likable. José Cura sang Canio very well. Mr. Cura will be singing both Turiddu and Canio at the Met next season (it will be his first Canio there so we got to see him in that role before New York does!) And Elizabeth Futral was good as Nedda. I felt bad for everybody at the end when Nedda and Silvio died. All they did was want to run away together leaving Nedda's husband in the lurch.
For those of you who couldn't make it to the opera, here's a classic performance of "Vesti la giubba" from one of the Golden Eras of opera recordings (the 1960s).
Cav has some wonderful orchestral and choral parts. For me, the story and characters are not terribly interesting and I didn't really care that the cad Turiddu dies at the end nor that his shamed, tattletale girlfriend is left without a boyfriend. And none of their songs really does anything for me. Mamma Lucia is about the only character who I can feel sorry for but her part is too small to give me a chance to really care much. The orchestra, conducted by Edoardo Müller, played well and the chorus did a good job. Richard Leech sang Turiddu. I guess he did a good job. He sounded a bit hoarse for a while.
Pag, on the other hand, has characters I think are interesting, though not terribly likable. José Cura sang Canio very well. Mr. Cura will be singing both Turiddu and Canio at the Met next season (it will be his first Canio there so we got to see him in that role before New York does!) And Elizabeth Futral was good as Nedda. I felt bad for everybody at the end when Nedda and Silvio died. All they did was want to run away together leaving Nedda's husband in the lurch.
For those of you who couldn't make it to the opera, here's a classic performance of "Vesti la giubba" from one of the Golden Eras of opera recordings (the 1960s).
Saturday, March 22, 2008
Tristan und Isolde
There were no incidents in today's performance of Tristan und Isolde that will be put in Mishaps at the Opera books. I enjoyed it a lot. All of the performers did great jobs.
It took me a while to get used to their using multiple images. They'd show the long shot of the stage in one image and close-ups of the singers in others. I've wished they'd show the long shots more often so I guess this solves the problem of satisfying people like me who want to see the big picture and satisfying the people who what to see up the singers nostrils.
And they tried to liven up this Park and Bark opera by making these close-up images move around the screen when there was no real action on the stage. That was too much for me. But I was there to hear the music so that didn't really matter much.
It lasted nearly five and a half hours. It felt like about twenty minutes. It must have been good.
It took me a while to get used to their using multiple images. They'd show the long shot of the stage in one image and close-ups of the singers in others. I've wished they'd show the long shots more often so I guess this solves the problem of satisfying people like me who want to see the big picture and satisfying the people who what to see up the singers nostrils.
And they tried to liven up this Park and Bark opera by making these close-up images move around the screen when there was no real action on the stage. That was too much for me. But I was there to hear the music so that didn't really matter much.
It lasted nearly five and a half hours. It felt like about twenty minutes. It must have been good.
Thursday, March 20, 2008
Tristan und Isolde will be interesting
The Metropolitan Opera is broadcasting Tristan und Isolde to movie theaters around the world on Saturday. If Saturday's performance is like the earlier ones in the run, we will be in for surprises.
Ben Heppner, the Tristan we were looking forward to hearing, has not yet been able to perform. He's had a viral infection. They got replacement tenors for Tristan.
During the second act of the second performance in the run, Deborah Voigt, the Isolde we're looking forward to hearing, had tummy troubles and had to bail out. Her cover took over and finished the performance. This was with a second replacement Tristan.
Then in the next performance the second replacement Tristan slid down the raked stage into the prompter's box. He wasn't hurt and finished the performance (after a bit of a pause).
Saturday we get to hear a third replacement Tristan. And with any luck Deborah Voigt.
Read all about it (and much more) in this New York Times article.
What else can go wrong?
(Ben Heppner is scheduled to sing in the last two performances.)
Ben Heppner, the Tristan we were looking forward to hearing, has not yet been able to perform. He's had a viral infection. They got replacement tenors for Tristan.
During the second act of the second performance in the run, Deborah Voigt, the Isolde we're looking forward to hearing, had tummy troubles and had to bail out. Her cover took over and finished the performance. This was with a second replacement Tristan.
Then in the next performance the second replacement Tristan slid down the raked stage into the prompter's box. He wasn't hurt and finished the performance (after a bit of a pause).
Saturday we get to hear a third replacement Tristan. And with any luck Deborah Voigt.
Read all about it (and much more) in this New York Times article.
What else can go wrong?
(Ben Heppner is scheduled to sing in the last two performances.)
Saturday, March 15, 2008
Peter Grimes
Today we got to see another in the Metropolitan Opera's broadcasts to movie theaters. This time it was "Peter Grimes" by Benjamin Britten. This has been one of my favorite operas from my early days of being an opera lover. I probably wore out the library's copy from all the times I checked it out. I'm pretty sure that Mom got tired of hearing it.
I was looking forward to seeing this and wasn't disappointed (much).
As I've said, I really don't know a good performance from a great one. (I wish I did know how to tell. I'm a self-taught music listener and have never really discussed performances with others who could give me other insights.) Anyway, I thought that Grimes, Ellen Orford, Mrs. Sedley and Auntie were very good. And, of course, the orchestra was great and had a lot to say.
One problem I have with seeing these broadcasts is that the camera is always giving us a close-up view of the action. We rarely get to see the big picture. And characters like Mrs. Sedley can come across as silly caricatures on the big screen when they probably appear as well acted characters from a seat in the theater. I just wish they'd have a camera at the back of the theater and use it now and then.
I wasn't terribly thrilled with the Wall-o-Doors. It was oppressive but it seemed that having a rather abstract set behind people in very literal, period costumes was strange. And there was something about the chorus standing still, staring straight ahead when they are expressing their anger towards Grimes that didn't work for me. I think I have some feel for what the director had in mind with that but I'm going to have to think about it some more.
But I go to operas first to hear the singers and orchestra then to see the spectacle. So I was satisfied with the important parts of it.
Now I have to read the New York Times review to see if I saw the same opera as their reviewer did.
I was looking forward to seeing this and wasn't disappointed (much).
As I've said, I really don't know a good performance from a great one. (I wish I did know how to tell. I'm a self-taught music listener and have never really discussed performances with others who could give me other insights.) Anyway, I thought that Grimes, Ellen Orford, Mrs. Sedley and Auntie were very good. And, of course, the orchestra was great and had a lot to say.
One problem I have with seeing these broadcasts is that the camera is always giving us a close-up view of the action. We rarely get to see the big picture. And characters like Mrs. Sedley can come across as silly caricatures on the big screen when they probably appear as well acted characters from a seat in the theater. I just wish they'd have a camera at the back of the theater and use it now and then.
I wasn't terribly thrilled with the Wall-o-Doors. It was oppressive but it seemed that having a rather abstract set behind people in very literal, period costumes was strange. And there was something about the chorus standing still, staring straight ahead when they are expressing their anger towards Grimes that didn't work for me. I think I have some feel for what the director had in mind with that but I'm going to have to think about it some more.
But I go to operas first to hear the singers and orchestra then to see the spectacle. So I was satisfied with the important parts of it.
Now I have to read the New York Times review to see if I saw the same opera as their reviewer did.
Sunday, February 24, 2008
Maria Stuarda
Recently, there was an interview (I think it was with James Levine) during an intermission in a broadcast of the Metropolitan Opera where he was excited that the Met is finally going to be putting on Donizetti's Maria Stuarda. They haven't done it before because it is so difficult to cast.
Great, I thought, we get to see it in a few weeks by the San Diego Opera. But then I don't really know the difference between a good cast and a great cast. The cast we saw today seemed to be pretty good but kind of uneven. It ranged from belt canto to his-lips-are-moving-but-is-anything-coming-out? (In the ensembles the tenor sometimes got drowned out.) So, I can see that it could be difficult to get all six soloists to be great at the same time. And even harder when they have to be great in a 4000-seat theater.
I wish I would keep my eyes open. I have a tendency to close my eyes and just listen. Too often I sort of doze off. I think I was awake for it all but I don't have a lot of recollection of the big scene with Elizabeth and Mary. I opened my eyes just in time to get to see the supertitle where Mary calls Elizabeth a "vile bastard." That sent Mary to the block.
I remember dozing off at the Santa Fe Opera when Alessandra Marc was being impressive in Strauss's "Friedenstag." I kept waking up and saying to myself that what was going on is really, really worth watching. But I kept going back to my little nap. My loss. Then we had only one more opportunity to see Ms. Marc. Too bad her physique kept her from being cast very often.
And today's opera was in the afternoon. Just put me in a dark room and I get sleepy.
Great, I thought, we get to see it in a few weeks by the San Diego Opera. But then I don't really know the difference between a good cast and a great cast. The cast we saw today seemed to be pretty good but kind of uneven. It ranged from belt canto to his-lips-are-moving-but-is-anything-coming-out? (In the ensembles the tenor sometimes got drowned out.) So, I can see that it could be difficult to get all six soloists to be great at the same time. And even harder when they have to be great in a 4000-seat theater.
I wish I would keep my eyes open. I have a tendency to close my eyes and just listen. Too often I sort of doze off. I think I was awake for it all but I don't have a lot of recollection of the big scene with Elizabeth and Mary. I opened my eyes just in time to get to see the supertitle where Mary calls Elizabeth a "vile bastard." That sent Mary to the block.
I remember dozing off at the Santa Fe Opera when Alessandra Marc was being impressive in Strauss's "Friedenstag." I kept waking up and saying to myself that what was going on is really, really worth watching. But I kept going back to my little nap. My loss. Then we had only one more opportunity to see Ms. Marc. Too bad her physique kept her from being cast very often.
And today's opera was in the afternoon. Just put me in a dark room and I get sleepy.
Saturday, February 16, 2008
Manon Lescaut
Today we got to see Manon Lescaut live from the Metropolitan Opera at a nearby movie theater. I didn't really have high expectations. The first two acts mostly lived up to my expectations and seemed to be heavy in the fluff department. I couldn't really understand why the characters reacted to the others the way they did except to get the story to the interesting point. That was when Manon is denounced by her sugar daddy. Up to then the story and the music were rather dull. Then things got interesting both dramatically and musically.
I enjoyed the end of Act 2 through the end of the opera. Jerry thought that Manon's dying scene went on too long and was overly dramatic. I told him that this was an early opera by Puccini and he hadn't learned to be subtle in working on our emotions. (I certainly got choked up when Des Grieux pleaded to be allowed to go into exile with Manon and again when Manon was dying.)
They replay it (at least in bigger cities) on Sunday. You might want to see it then if you missed it today.
I enjoyed the end of Act 2 through the end of the opera. Jerry thought that Manon's dying scene went on too long and was overly dramatic. I told him that this was an early opera by Puccini and he hadn't learned to be subtle in working on our emotions. (I certainly got choked up when Des Grieux pleaded to be allowed to go into exile with Manon and again when Manon was dying.)
They replay it (at least in bigger cities) on Sunday. You might want to see it then if you missed it today.
Sunday, February 3, 2008
We skipped "The Great American Trailer Park Musical" for this?
We were double booked today. We had tickets for the 2:00 performance of the San Diego Opera's "Tannhäuser" and the 8:00 performance of "The Great American Trailer Park Musical" at the California Center for the Arts, Escondido. Tannhäuser was going to last about four hours so that was going to give us just enough time to drive from San Diego back to Escondido, get coffee and supper and shift gears from German Romantic opera to trashy Off-Broadway fluff.
Then San Diego Opera decided that they needed to start at 3:00 instead. So much for the time to get from one to the other. We turned in our tickets to the Trailer Park Musical.
I'm wondering if we made the right decision.
I had never seen Tannhäuser before so it was a good thing to experience but it seemed to be a rather silly story (it didn't seem all that silly while I was growing up with operas on records). Their Venus seemed to be a bit weak and their Tannhäuser seemed to be too strong. The Elisabeth sang well but why is she so determined to save that lout's soul?
I wish I knew how to analyze opera.
(I wonder how the Trailer Park Musical was.)
Then San Diego Opera decided that they needed to start at 3:00 instead. So much for the time to get from one to the other. We turned in our tickets to the Trailer Park Musical.
I'm wondering if we made the right decision.
I had never seen Tannhäuser before so it was a good thing to experience but it seemed to be a rather silly story (it didn't seem all that silly while I was growing up with operas on records). Their Venus seemed to be a bit weak and their Tannhäuser seemed to be too strong. The Elisabeth sang well but why is she so determined to save that lout's soul?
I wish I knew how to analyze opera.
(I wonder how the Trailer Park Musical was.)
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