Here's something you might be interested in.
Ask a Hipster — Advice you didn't know you needed
Big Screen — Movie commentary
Blurt — Music's inside track
Booze News — San Diego spirits
Classical Music — Immortal beauty
Classifieds — Free and easy
Cover Stories — Front-page features
Drinks All Around — Bartenders' drink recipes
Excerpts — Literary and spiritual excerpts
Feast! — Food & drink reviews
Feature Stories — Local news & stories
Fishing Report — What’s getting hooked from ship and shore
From the Archives — Spotlight on the past
Golden Dreams — Talk of the town
The Gonzo Report — Making the musical scene, or at least reporting from it
Letters — Our inbox
Movies@Home — Local movie buffs share favorites
Movie Reviews — Our critics' picks and pans
Musician Interviews — Up close with local artists
Neighborhood News from Stringers — Hyperlocal news
News Ticker — News & politics
Obermeyer — San Diego politics illustrated
Outdoors — Weekly changes in flora and fauna
Overheard in San Diego — Eavesdropping illustrated
Poetry — The old and the new
Reader Travel — Travel section built by travelers
Reading — The hunt for intellectuals
Roam-O-Rama — SoCal's best hiking/biking trails
San Diego Beer — Inside San Diego suds
SD on the QT — Almost factual news
Sheep and Goats — Places of worship
Special Issues — The best of
Street Style — San Diego streets have style
Surf Diego — Real stories from those braving the waves
Theater — On stage in San Diego this week
Tin Fork — Silver spoon alternative
Under the Radar — Matt Potter's undercover work
Unforgettable — Long-ago San Diego
Unreal Estate — San Diego's priciest pads
Your Week — Daily event picks
Upon further review Germont is dickish
Guidepost number two for adding depth to opera characters.
What is Violetta fighting for when Alfredo’s father, Germont, confronts her in Act II of La Traviata?
Remember, we’re talking about adding depth to a character in opera by using the guideposts from the book Audition.
Guidepost number one is relationship and we’re to “find the love” in every scene.
Guidepost number two is “what are you fighting for?” and we’re to find deep seated desires for the character to fight for in a scene.
In Act II of Traviata, Alfredo discovers that Violetta has been selling her possessions in order to support their country lifestyle of love and leisure. We have known since the beginning of the show that Violetta is not long for this world.
Alfredo leaves to get some dough and in his absence his father, Germont, arrives and accuses Violetta of being a gold digger — a gold diggin’ cougar since Alfredo is younger. Violetta defends herself and proves she’s not after money.
Germont then explains that Violetta’s relationship with Alfredo is casting a poor light on Alfredo’s sister's engagement, and that since there is no way Violetta will ever be married to Alfredo she should make a sacrifice and send him away.
The text is all very high brow with Germont being impressed by the generosity and nobility of Violetta’s character, etcetera.
Okay, what is Violetta fighting for? Yes, love. Good — but what kind of love? Alfredo is loving Violetta in a way to which she is unaccustomed as a courtesan.
Germont makes the futility of this love painfully clear to Violetta.
He’s asking Violetta to die alone so that his daughter can make a good bourgeois match. Germont is kind of a dick even though Verdi paints him in a sympathetic light.
What if Violetta is fighting for something more basic than love? What if she wants to have someone care that she lived? What if she is fighting to avoid a lonely death? She’s fighting to have someone hold her hand.
Here's something you might be interested in.
Upon further review Germont is dickish
Guidepost number two for adding depth to opera characters.
Upon further review Germont is dickish
Guidepost number two for adding depth to opera characters.
What is Violetta fighting for when Alfredo’s father, Germont, confronts her in Act II of La Traviata?
Remember, we’re talking about adding depth to a character in opera by using the guideposts from the book Audition.
Guidepost number one is relationship and we’re to “find the love” in every scene.
Guidepost number two is “what are you fighting for?” and we’re to find deep seated desires for the character to fight for in a scene.
In Act II of Traviata, Alfredo discovers that Violetta has been selling her possessions in order to support their country lifestyle of love and leisure. We have known since the beginning of the show that Violetta is not long for this world.
Alfredo leaves to get some dough and in his absence his father, Germont, arrives and accuses Violetta of being a gold digger — a gold diggin’ cougar since Alfredo is younger. Violetta defends herself and proves she’s not after money.
Germont then explains that Violetta’s relationship with Alfredo is casting a poor light on Alfredo’s sister's engagement, and that since there is no way Violetta will ever be married to Alfredo she should make a sacrifice and send him away.
The text is all very high brow with Germont being impressed by the generosity and nobility of Violetta’s character, etcetera.
Okay, what is Violetta fighting for? Yes, love. Good — but what kind of love? Alfredo is loving Violetta in a way to which she is unaccustomed as a courtesan.
Germont makes the futility of this love painfully clear to Violetta.
He’s asking Violetta to die alone so that his daughter can make a good bourgeois match. Germont is kind of a dick even though Verdi paints him in a sympathetic light.
What if Violetta is fighting for something more basic than love? What if she wants to have someone care that she lived? What if she is fighting to avoid a lonely death? She’s fighting to have someone hold her hand.
Comments