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Isn’t opera meant to aspire to a fusion of greatness of words and music, not to have one come limping behind the other in the dusk? I wonder whether this acceptance of verbal mediocrity is common. Oppenheimer sings this poem, Batter my heart, three-persond God.
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It’s as if the critics felt the music was all that mattered or wanted so badly to praise the opera for its “daring” and profound subject matter that they found ways to minimize the emptiness of its actual verbal content. Doctor Atomic was an opportunity to create a work that challenged the audience on an. The New Yorker mostly avoids the subject, saying “purely as an experience in sound, the Met’s Atomic was a triumph.” He must be talking about the sound, not the words, when he refers to the “skull-splitting” duet as “sumptuous.” And the sapient Clive Barnes made the contradiction most explicit when he called the opera “terrific” but admitted that the libretto was “dull.” “Terrific” and “dull.” Sorry, they don’t go together. The New York Times critic strenuously praised just about everything in the opera while artfully avoiding any explicit reference to the words. The first line of 'Batter my Heart, three- personed God, for You' begins with 'batter my heart, three-personed God, for You as yet but knock, breathe, shine and seek to mend. VDOMDHTMLtml> Batter My Heart, three-person’s God - John Donne Summary English Literature Lessons - YouTube A summary of John Donne’s Holy Sonnet 14 titled ‘Batter My Heart. As yet but knock, breathe, shine, and seek to mend That I may rise and stand, oerthrow me, and bend. In New York magazine we are told the libretto mixes “leaden lingo” and “opaque poetry,” but somehow that doesn’t matter because the music and sets are so good. Batter my heart, three-persond God, for you.
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