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Not sure what you mean by "no worse than Written on Skin." :huh:

Sorry, I didn't see this.

 

I meant that many of us think that Written on Skin is at the very pinnacle of operas written in the last half decade.

 

Breaking the Waves is not any worse. Which means that it, too, is at the pinnacle.

 

I was--and still am--confused because "worse" is a comparative form of "bad": bad, worse, worst. So working backward, the construction you used could be taken to mean that Written on Skin was not good: WoS was bad, and BtW is not worse that it (=as bad). Grammatical nitpicking, I suppose, but as long as you state that you think WoS was one of the best, I'll take that as positive.

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It's hard to pay attention to the current Met run of Le Comte Ory when your uncontrollable inner mind keeps emitting:   WE'RE SO PRETTY OH SO PRETTY YENDE   (I should say that this star-is-born do

Dynamite-plus, even.

This reminds me of my rant about SF Ballet's Cinderella without fairy godmother or mice.

I typed "Breaking the Waves is as good as Written on Skin." But it just didn't seem right. I don't know why, but the claim I wanted to make wasn't that Breaking the Waves was just as good as Written on Skin, but that it wasn't materially worse -- that although Mazzoli is a much younger and less experienced composer than Benjamin, she came up with an opera that was in no way worse than his.

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Now that I think about it, I think (I know you all care) that the reason it bothered me to say that Breaking the Waves was "as good as" (as opposed to "no worse than") Written on Skin is that it made it seem like the works and their composers were in competition with each other for some First Prize. When the point is that they're simply two fabulously good additions to the available repertoire.

 

Does that make sense?

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IDK. If you'd just said that, I would have taken it to mean that in its own way, BtW was as well-written, well-sung, well-played, etc. as WoS was in its way. Which was pretty damn great. (I don't see competition everywhere; in fact, I get annoyed when people make things into competitions for no reason I can see.)

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Agree. Unless you have a high tolerance for young men mooning about and behaving extremely stupidly because of unrequited love for married women. And unless it's a broadcast of the Metropolitan Opera's production from earlier this year, which has the most wonderful Isabel Leonard as the married lady in question.

 

Naw. Sweet dreams.

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Oh dear. This cannot possibly end well. My companion frequently falls asleep during such things, and it is I who prevents the snores from becoming too loud. But of I fall asleep, too, there will be snoring in stereo!

 

Even Je Me Réveiller did not keep my interest. I had to focus on how good looking Jonas Kaufmann was to try to stay awake.

 

Oh well, I will give myself permission to leave early. It will be more respectful to the performers than having them hear me snore.

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But you don't know they're bad operas until / unless you go to the primer (or if you miss the primers, actually attend the opera), and by then you already have your tickets. I suppose I could have researched it a bit more, but that would have taken more effort than I had to expend at the time. Oh well, maybe I'll enjoy it more than I think I will, and if nothing else, I'll probably get a good dinner out of it.

 

(My local opera company puts on related educational seminars within a week or two of any opera that will be performed. For Werther, there was a seminar on mental health, and then the primer this past weekend, which provided an overview.)

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