On 5/9/07 6:27 PM, Bert Coules, at mail@bertcoules.co.uk, wrote the following: [snip] But that's exactly the problem. If the artform were working properly it should be next to impossible to tear your attention from the stage. If most operagoers really do find it both simple and acceptable to do so, then the experience they're getting must only be a fraction of what it should be

The message <C267976D.1663D%%r.partridge@verizon.net> from Richard Partridge <r.partridge@verizon.net> contains these words: On 5/8/07 11:44 AM, Bert Coules, at mail@bertcoules.co.uk, wrote the following: {snip} Agreed, that's absurd. I put that in for the benefit of one of the other members of our group. I thought it would be nice to give him a chance to participate in the conversation

On 5/7/07 5:06 PM, Richard Partridge, at r.partridge@verizon.net, wrote the following: [snip] When you translate an opera to be sung in another language, the results you will get depend heavily on the languages involved. Translating from one Romance language to another should be fairly easy. Translating within the Germanic language group should not be too difficult, though German

On 5/7/07 11:59 AM, AMH, at amhendrick@gmail.com, wrote the following: [snip] When I attended a performance of Walkure, the supertitles did not translate Siegmund's names for himself in the first act. It doesn't make sense for him to say my name is not Frohwalt or Friedmund, but Wehwalt, unless the meaning of those is translated. It's as if someone asked me name and I answered

Nazi morons quote Simon Weill's article in eight parts, constructing secret Wagner codes. It's worth a response in 1 part. There is no Jewish character in any Wagner opera, and (with two possible exceptions, discussed as a PS at the end of this post) no mention of Jews in any Wagner opera. Therefore belief in antisemitic messages in Wagner operas requires the "discovery" of secret codes embedded