tag:blogger.com,1999:blog-9186118329509553435.comments2024-03-09T15:11:29.350-08:00Exotic and irrational entertainmentPessimisissimohttp://www.blogger.com/profile/04223566131580795337noreply@blogger.comBlogger782125tag:blogger.com,1999:blog-9186118329509553435.post-76614476900219202822024-03-08T12:09:22.275-08:002024-03-08T12:09:22.275-08:00Thank you for sharing this. What a beautiful rendi...Thank you for sharing this. What a beautiful rendition of Beau Soir. I have recently become re-acquainted with it and find it deeply moving and beautiful.Anonymous Librarianhttps://www.blogger.com/profile/13454785593323023561noreply@blogger.comtag:blogger.com,1999:blog-9186118329509553435.post-39448167437851851592024-01-03T09:28:08.703-08:002024-01-03T09:28:08.703-08:00Dear YLW: You'll be pleased to hear that Samue...Dear YLW: You'll be pleased to hear that Samuel Pepys did not go in a box. I've decided to try to approach reading the diary at the rate of one volume per year, and to read it in chronological order. This means reading about four entries a day—wish me luck!<br /><br />Best,<br /><br />P.Pessimisissimohttps://exoticandirrational.blogspot.com/noreply@blogger.comtag:blogger.com,1999:blog-9186118329509553435.post-41860727440876827062024-01-02T10:15:23.050-08:002024-01-02T10:15:23.050-08:00Oh no! Please don't put Samuel Pepys in a box!...Oh no! Please don't put Samuel Pepys in a box! He will suffocate and we won't be able to access him easily! YLWAnonymousnoreply@blogger.comtag:blogger.com,1999:blog-9186118329509553435.post-45171996453538749002023-10-10T19:33:27.511-07:002023-10-10T19:33:27.511-07:00Hello, Martin: Many thanks for your comment! I che...Hello, Martin: Many thanks for your comment! I checked with the SF Opera Archives (the site is currently down, but they respond to email requests). I believe that the "Orlando Paladino" production you mention many have been Vivaldi's "Orlando Furioso." It was performed on the main stage in the 1989-1990 season, and featured Marilyn Horne (Orlando), Jeffrey Gall (Ruggiero), and Kathleen Kuhlmann (Alcina), conducted by Randall Behr. The performance was released on video and can be found on YouTube. The archives confirmed that there has been no "Orlando Paladino" production on the main stage or by the touring companies of SFO, alas. <br /><br />You're absolutely right about the production of Handel's "Orlando" in the 1985-86 season; the company mounted a new production in the 2018-19 season which I wrote about on this blog: <a href="https://exoticandirrational.blogspot.com/2019/06/handels-orlando.html" rel="nofollow">Reason destroyed by love</a>.<br /><br />Many thanks as well for pointing out the Haydn productions from Bordeaux and Covent Garden. I will definitely keep an eye out on YouTube and streaming services for these and other productions of his underperformed works. And the insertion arias/scenas available through the complete Haydn edition sound very much worth exploring. It's great to find another fan--thank you for sharing these opportunities to enjoy Haydn's delightful operas.Pessimisissimohttps://exoticandirrational.blogspot.comnoreply@blogger.comtag:blogger.com,1999:blog-9186118329509553435.post-7095830672965935292023-10-07T11:49:47.367-07:002023-10-07T11:49:47.367-07:00The San Francisco Opera performed Haydn's 1782...The San Francisco Opera performed Haydn's 1782 opera "Orlando Paladino" in the 1980s (I assumed that this was on the main stage, though might be wrong). Handel's opera "Orlando" was also performed by the SF Opera (in the Handel tercentenary year; 1985). I attended both operas and also remember that a music critic for one of the SF newspapers - when commenting about aspects of humor in "Orlando Paladino" - noted that, the humor (maybe irony/sardonic wit) is strongest at the times when the work is at its most "serious". In terms of other Haydn opera performances at major opera houses, a production of "L'incontro improvviso" from Bordeaux is available on Youtube, and Covent Garden has staged at least one Haydn opera (possibly "Orfeo/L' anima del Filosofo" or "Armida").<br />The complete Haydn edition, finished in the 2010s, includes all Haydn's surviving operatic music, including the insertion arias/scenas that he wrote for inclusion in operas by other composers at Eszterháza.<br />Martin F. Heyworth (Philadelphia)Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-9186118329509553435.post-53978996137418190472023-09-30T17:34:46.298-07:002023-09-30T17:34:46.298-07:00I loved this book. I too, began it thinking to be ...I loved this book. I too, began it thinking to be completely bored, but it charmed and amused me greatly. Her composure was delightful. Loved the ending. Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-9186118329509553435.post-35402466279341830012023-09-30T16:42:24.055-07:002023-09-30T16:42:24.055-07:00Thank you for writing this. I have slogged through...Thank you for writing this. I have slogged through this novel once out of desperation to read anything more from that era that I could. It was frustrating to no end, and I think I hated it at points, but never Sir Charles. He is wonderfully good, though undoubtedly a piece of fiction. <br /><br />Most of the finer points I couldn’t understand, and my imagination continued to supply me with an image of a character walking into a coat closet each a “closet,” was referred to, though I knew it couldn’t possibly have the same meaning then. Thank you so much for clearing up that point, as well as the clips of music. <br /><br />I’m reading it for the second time now, it’s as though I’ve improved in a second language; I find the dialogue opens up to me more easily, and I’m actually understanding what is happening.<br /><br />I find this so fascinating that I’ve been reading it nonstop for the past 3 days, and not surprisingly, still only half way through. <br /><br />Never complain about the long ending; her abrupt endings are one of the rare faults I find with Austin. I think I am not alone in this, or there wouldn’t be so many badly written attempts at sequels. <br /><br />Again, thank you! It was wonderful to have my appreciation of the story enriched by your links and commentary. Now I have to begin Pamela all over again! 🙂Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-9186118329509553435.post-50900749829435513072023-09-23T17:53:07.319-07:002023-09-23T17:53:07.319-07:00I do love your wonderful evaluation and treasure y...I do love your wonderful evaluation and treasure your honesty about these recirdings. They have been in my own personal repertoire as a singer for over 20 years. You make no note of the fact that Schwartzkopf sang them a semitone lower than anyone else. Which I guess doesn't matter, they are still beautifully sung. I have to say that while I do like Gundila Janovitch's recording but,I find her voice tight or perhaps thin is a better word. I do adore many of her recording but Lucia Popp for me is the best! Ouf, how silly, they are all stunning! Thank you again!Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-9186118329509553435.post-27033237757910004522023-04-11T20:09:38.655-07:002023-04-11T20:09:38.655-07:00Dear Anonymous Librarian,
Many thanks for your co...Dear Anonymous Librarian,<br /><br />Many thanks for your comment, and my apologies for the delay in posting it and my response. While it didn't quite seem to me that Morris was giving his audience the finger, "The Look of Love" did feel like an explicit attempt to make a sequel to "Pepperland." On the evidence of the performance we saw, though, the level of inspiration (both choreographically and musically) was distinctly lower. This was one case where I wondered whether, despite Morris's vow to perform only with live music, using the versions of the songs recorded by Dionne Warwick and Dusty Springfield might have worked better (though that definitely would not have been the case, at least for me, with B.J. Thomas's "Raindrops").<br /><br />Re: Morris and pantomime, I think one of his greatest works is <i>Dido and Aeneas</i>, in which the choreography is almost entirely gestural. We also love <i>The Hard Nut</i>, which of course tells a story (E.T.A. Hoffmann's <i>Nutcracker and Mouse King</i>), and <i>L'Allegro, il Penseroso ed il Moderato</i>, which has many sections that are directly illustrative of the words of Milton (and Jennen's) poem. So I don't object to pantomime on principle. But in "The Look of Love" the gestures and pantomime either seemed somewhat obvious, or borrowed and repurposed from earlier pieces. <br /><br />Morris has reached the point in his career where he could simply rest on his laurels and revive his greatest hits; to his credit he continues to produce new work. But comparisons are unavoidable, and the apparent commercial calculation behind "The Look of Love" was not balanced by the sort of creative inspiration that animates his best work. As with you, for me the main impact of the performance (also seen at the Sunday matinee) was as a reintroduction to some of Bacharach's wonderful music. Being moved to go back and listen to the great renditions of his songs by Aretha, Dusty, Dionne, and Marilyn is an experience that will stay with me longer than any other aspect of this work.<br /><br />Many thanks again for your comment!<br /><br />Best,<br /><br />P.Pessimisissimohttps://www.blogger.com/profile/04223566131580795337noreply@blogger.comtag:blogger.com,1999:blog-9186118329509553435.post-89795740048922288732023-03-20T15:54:36.205-07:002023-03-20T15:54:36.205-07:00I saw the Sunday matinee of The Look of Love, with...I saw the Sunday matinee of The Look of Love, with a friend and colleague who is a longtime dancer, dance teacher, choreographer, and director of her own dance company. She asked me after the show, "Do you get the feeling that sometimes he (Mark Morris) is giving the audience the finger?" I had to answer, "yes." I've long felt that way about MM's choreography, as he often seems to revert to flat-out pantomime. (I refrain from saying so publicly because so many people love him, and I don't want to be an Eeyore.) And The Look of Love was an entirely pleasant way to spend an afternoon. The dancers were beautiful, the costumes bright and happy. But hearing the Bacharach songs again rather floored me; I remembered them as somewhat silly or sleazy, but now they seem poignantly romantic. Anonymous Librarianhttps://www.blogger.com/profile/13454785593323023561noreply@blogger.comtag:blogger.com,1999:blog-9186118329509553435.post-88607305746409544222022-11-16T07:50:43.056-08:002022-11-16T07:50:43.056-08:00First of all, really congratulations for your post...First of all, really congratulations for your post based on careful research of reliable sources (which is not very common on the web)!<br />I just wanted to make a few observations regarding Vittoria Tesi's baptism certificate.<br />1. Baptism records in Florence at the time were drawn up in observance of the Florentine calendar then in use, which followed the "style of the incarnation" or "of the assumption". This meant that the first day of the new year was fixed not on January 1st (as in the “style of circumcision”), but on March 25th. Tesi’s date of birth attested by the baptism certificate as “15 February 1700”, must therefore be read as “15 February 1701” in the so-called “common style”, the one that has gradually established itself all over the world. The latter date is now attested by the Dizionario Biografico degli Italiani (Treccani).<br />2. The excerpt from the baptismal certificate reported by Ademollo (p.309) is incomplete. The part referring to the godmother reads as follows (thus crediting as godmother a woman with the name, almost exclusively masculine in Italian, of Andrea): «e comare l'Andrea Pasquini nei Farinelli del popolo suddetto, e per detta, Caterina di Giovanni Borguè» (and godmother the Andrea Pasquini married into the Farinellis, from the aforementioned folk, and on her behalf, Caterina daughter of Giovanni Borguè). In fact, the original text, as quoted by Maria Augusta Timpanaro Morelli ("Per Tommaso Crudeli: nel 255º anniversario della morte, 1745-2000", Firenze, Olshki, 2000, p. 31), reads instead: «e per comare Vettoria di Andrea Tarquini ne' Farinelli, sempre del popolo di San Frediano, e per detta, Caterina di Giovanni Borguè» (and as the godmother Vettoria daughter of Andrea Tarquini married into the Farinellis, also from the San Frediano folk, and on her behalf, Caterina daughter of Giovanni Borguè). Thus soprano Vittoria Tarquini was actually Tesi’s godmother and the latter was evidently named after the former.<br />3. It seems to me wholly impractical that the phrase "Alessandro di Antonio Tesi" might mean "Alessandro servant of Antonio Tesi". In public documents, the particle "di" was used systematically, into the 20th century, to express the patronymic in Italian. Within an old baptismal record, therefore, the correct translation can only be, in my opinion, "Alessandro son of Antonio Tesi".<br />All of the above is already detailed in the entry on Vittoria Tesi of the Italian Wikipedia (where, if necessary, I could be contacted).<br />Jeanambr<br />Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-9186118329509553435.post-46905753058904374232022-10-26T13:31:21.026-07:002022-10-26T13:31:21.026-07:00I haven't been following Bollywood much in the...I haven't been following Bollywood much in the last few years and even I've noticed this trend, which is very depressing. The pluralism has always been one of my favorite things about the Indian film industry. I have to wonder what Karan Johar was thinking there; everybody knows he's gay (does Modi not??) and as you pointed out, Hindu nationalists aren't exactly LGBT-friendly.Jeanhttps://www.blogger.com/profile/14247515387599954817noreply@blogger.comtag:blogger.com,1999:blog-9186118329509553435.post-39806491307732504892022-07-31T20:13:16.036-07:002022-07-31T20:13:16.036-07:00Many thanks for your kind words! I try to write on...Many thanks for your kind words! I try to write only on things that engage or intrigue me, and my hope is that others may also find these subjects interesting. It's great to hear that you've found enjoyment in reading posts on E&I, and rest assured that I plan to keep going as long as I continue to enjoy writing them.Pessimisissimohttps://www.blogger.com/profile/04223566131580795337noreply@blogger.comtag:blogger.com,1999:blog-9186118329509553435.post-89020272654993192342022-07-23T14:18:48.946-07:002022-07-23T14:18:48.946-07:00Congratulations on 500+ interesting and original p...Congratulations on 500+ interesting and original posts -- more amazing than 15 years IMHO! Both are triumphs!<br />Onward to the next fifteen years!Jay Nitschkehttps://www.blogger.com/profile/07095597671970492262noreply@blogger.comtag:blogger.com,1999:blog-9186118329509553435.post-23775221214106876192022-06-05T20:42:54.298-07:002022-06-05T20:42:54.298-07:00Anonymous, many thanks for your highly informed co...Anonymous, many thanks for your highly informed comment. I think the reasons for the Sand-Chopin break-up, as with many less famous ones, may depend on your perspective. Through my series on Sand, I have attempted not to take sides, but simply to provide readers with background material informing my reading of Sand's works.<br /><br />Emotional and erotic freedom was one of Sand's central principles, as anyone becoming involved with her in 1838 couldn't help but be aware. Unlike Lucrezia, Sand did not always "absolutely break" with one lover before taking up with another. But she was hardly alone in this practice; it's a privilege that men have often assumed. Alfred de Musset, for example, consorted with other women when he travelled with Sand to Venice.<br /><br />Did Sand refer to Chopin with "belittling diminutives," comically exaggerated pet names, or tender endearments? Again, it may depend on one's perspective. By the accounts I drew on for this post, the two had fundamentally different temperaments: she was witty, sociable, and bohemian, while he was reserved and sensitive to the point of irritability.<br /><br />As for Sand reading <i>Lucrezia Floriani</i> aloud to Delacroix and Chopin, Delacroix reports that "Chopin never stopped admiring the story." Evidently he was not offended, at least at first, by the novel.<br /><br />Finally, Chopin intervened in opposition to Sand's express wishes in a family quarrel. Whether or not we feel Sand was being unreasonable, this is an action that could hardly fail to arouse her anger.<br /><br />In short, what is remarkable is not that they broke up, but that they remained together despite their incompatibilities for so long. Clearly a key reason for that was Sand's deep respect and admiration for Chopin's creativity, and her desire to foster it. You say that we don't know what Chopin suffered because of Sand; however, we do know that, as I quote from <i>Grove Music Online</i> in the post, "'much of his greatest music was composed in [Sand's country estate at] Nohant.'" She offered him the conditions, support and care he needed to compose; inevitably her care of him must have impinged on the time she needed to write. I don't see a villain in this situation, but rather two artists who deeply admired one another's work but who found that they were ultimately unable to sustain a romantic relationship.Pessimisissimohttps://www.blogger.com/profile/04223566131580795337noreply@blogger.comtag:blogger.com,1999:blog-9186118329509553435.post-13454419611361500722022-05-30T20:39:13.302-07:002022-05-30T20:39:13.302-07:00In the following months and years until his death ...In the following months and years until his death he never ceased to encourage Solange to keep in touch with her mother and try to smooth out things. Sand didn’t speak to him any more, she just asked from friends every now and then how Chopin’s health was. <br /><br />Some friends of both Chopin and Sand, like Viardot tried to mediate between them. It was clear for everyone that Chopin did not turn against Sand, didn’t do anything dishonourable and was as devoted to her as ever. For some reason Sand chose to ignore Chopin’s own words as much as these friends’. This only proves that she simply had it with Chopin and all this was just indeed an excuse to get rid of him.<br /><br />Her unfaltering efforts to paint Chopin everything that he wasn’t -which completely covers a proper character slander- <br />(even in Histoire de ma vie as much as in Lucrezia Floriani) probably stem from the fact that she had to justify her otherwise unjustifiable decision to get rid of him.<br /><br />Chopin, who practically did nothing wrong and from all parties involved (incl. Maurice, Clesinger, Solange or Sand herself) was the only one behaving with courtesy, dignity and moral integrity ended up being depicted everything that he didn’t deserve.<br /><br />The simple fact that the only written accounts people read are the ones written by Sand (who was by definition a fiction writer who didn’t shy away from changing reality into her own story that pictured her in a better light) are determining the fate of Chopin who chose not to comment and this way we know not what he suffered because of Sand. <br /><br />The way Sand treated him even in front of other people is appalling. She gave him belittling diminuitives, she called her Chip-chip and ‘my dear corpse’, it makes one shudder.<br />She wrote Lucrezia Floriani, then read it to Chopin while other friends were listening. Does this not speak volumes? Are people completely oblivious to what’s right in front of them?<br />I do not know, but I do find it abominable.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-9186118329509553435.post-21379323245319108632022-05-30T20:38:32.279-07:002022-05-30T20:38:32.279-07:00Well written article, my compliments!
I would resp...Well written article, my compliments!<br />I would respectfully start a dialogue on a few points only.<br />The last daguerrotype was proven to be of a photo of a painting of Chopin, so it’s not an accurate photo of him. This is but a minor detail.<br /><br />I would challenge the conclusion that Sand was interested in any meaningful way about Chopin after she discarded him (apart from maybe being a little curious about his health) and I’d also challenge the notion that Chopin remained bitter and resentful about Sand.<br /><br />The circumstances of the break-up are rarely discussed in their entirety. <br /><br />But to start with, Sand was famous of her gazillions of lovers, she did not entirely step out of the Malefille-story while already starting an affair with Chopin, it was evidenced that she cheated on Chopin at least with one person (Borie, if I remember well - some say there were more) and she constantly surrounded herself with a circle of drooling men. All the while she stopped being physical with Chopin, because she said she was afraid it would kill him. Considering all this, I don’t know who would have felt comfortable and not jealous in Chopin’s place. <br />Chopin was not stupid, even if he handled his intimate life with discretion and chose not to comment. It was a degrading situation for him. Prrobably only his desperate need for Nohant and composing in peace justifies it.<br /><br />The break-up’s circumstances are no less messy. <br />Solange had a very decent fiancee up until february 1847 when Clesinger appeared. Chopin warned Sand against Cl., he knew about his reputation as a drunkard full of debts, but she did not listen. She married off Solange to Clesinger behind the back of Chopin, she didn’t want to deal with his disapproval. When things turned ugly pretty quickly in July, physical violence erupted between Maurice + Sand and Clesinger (who was there with Solange). Sand threw Clesinger and Solange out of the house and expressly denied Chopin’s carriage to be used by them. Solange (who was pregnant) omitted everything that just happened and simply asked Chopin for his carriage. Chopin regarded Solange as a daughter and was aware of her pregnancy, so asked no questions but lent them his carriage. Sand assumed Chopin knew about what happened and took offense, she interpreted Chopin’s action as siding with the enemy and accused him of loving Solange and not loving her any more. Consequently she sent a brutal break-up letter which caught Chopin off guard, he was in shock. He responded with a lot of dignity, he was appealing to George’s motherly heart and expressed a firm convinction that things must and will smooth out between mother and daughter, as it cannot be otherwise. He wrote: ‘In the face of such a serious event I will not mention what concerns me. Time will do its job. I will wait. Always the same - your wholly devoted Ch[opin]’.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-9186118329509553435.post-90272807931687245802022-03-03T19:30:52.031-08:002022-03-03T19:30:52.031-08:00Dear Pessimisissimo,
Much enjoyed this post! Whil...Dear Pessimisissimo,<br /><br />Much enjoyed this post! While not the opera buff you are, my own casual listening tends towards baroque opera seria. I'm delighted to learn about Maria Teresa Agnesi's <i>La Sofonisba</i>. Alas! I do not often listen to aria collections, so I won't likely order up Elena De Simone's recording (the strings also have that shrill sound that some early music conductors favor; I prefer a warmer and more lyrical tone). Should you ever learn of a complete performance of <i>La Sofonisba</i>, please update this post!<br /><br />I was also drawn to the story of opera singer Vittoria Tesi Tramontini. I discovered a terrific blog post about her, "The Will of Vittoria Tesi Tramontini," by musicologist, historian, and photographer Michael Lorenz: <a href="https://michaelorenz.blogspot.com/2016/03/the-will-of-vittoria-tesi-tramontini.html" rel="nofollow">https://michaelorenz.blogspot.com/2016/03/the-will-of-vittoria-tesi-tramontini.html</a>. His post also contains an engraved portrait of Vittoria Tesi-Tramontini, reproduced in Moriz Bermann, <i>Maria Theresia und Kaiser Josef II</i> (Vienna: A. Hartleben's Verlag, 1881), much more flattering than the caricatures found on Wikipedia and Wikimedia Commons.<br /><br />Always insatiable,<br /><br />M. LapinAnonymousnoreply@blogger.comtag:blogger.com,1999:blog-9186118329509553435.post-34558547088997671112021-09-20T06:15:48.972-07:002021-09-20T06:15:48.972-07:00Liz, in the article "Chronology and History i...Liz, in the article "Chronology and History in Trollope's Barset and Parliamentary Novels," (see the full citation in my reply to your comment below), Frank Robbins has explored the time span of the Palliser novels, and finds that Trollope is not fully consistent.<br /><br />Going by the age of Lady Glencora and Plantagenet Palliser's eldest child Lord Silverbridge in the final novel in the series, <i>The Duke's Children</i>, the novels span at most 25 years (I say above, "at least two decades"). Lady Glencora dies, though, at the beginning of the 18-month period covered in <i>The Duke's Children</i>. Going by the narrator's statements about the passage of time, they cover only 18 years (the time span over which they were written).<br /><br />Best,<br /><br />P.Pessimisissimohttps://www.blogger.com/profile/04223566131580795337noreply@blogger.comtag:blogger.com,1999:blog-9186118329509553435.post-42714231961006537592021-09-19T09:45:27.921-07:002021-09-19T09:45:27.921-07:00Many thanks for your comment, but I'm afraid I...Many thanks for your comment, but I'm afraid I can't agree with you about the chronology of the novels, the casting of the series, or the characterization of Lady Glencora.<br /><br />The chronology of Trollope's novels is not fully consistent—hardly a surprise, considering that they were published serially over many years. In <i>The Small House at Allington</i> (1864) we learn that "that spring [probably culminating in Queen Charlotte's Ball in May] Lady Glencora MacCluskie was brought out before the world," meaning that she is probably 18, and that "before the end of the season [that is, the end of June]. . .everything was settled" about her engagement to Plantagenet Palliser. In <i>Can You Forgive Her?</i> (1864) we're told that she is married "late in the [same] season"; her family is in haste to get her married because of her attraction to the highly unsuitable Burgo Fitzgerald. <br /><br />Lady Glencora does not even enter her 30s until the fifth novel in the series, <i>The Prime Minister</i> (1876), which spans three years, and she dies before the start of <i>The Duke's Children</i> (1879), the final novel in the series. In that novel we learn that her firstborn child, now Lord Silverbridge, is 22. Adding in a couple of years for the period covering the first year of her marriage and then her pregnancy means that when she dies Lady Glencora is perhaps 42, and the entire Palliser series spans at most 25 years (see Frank Robbins, "Chronology and History in Trollope's Barset and Parliamentary Novels," <i>Nineteenth-Century Fiction</i>, Vol. 5, No. 4 (March 1951), pp. 303-316, available via JSTOR.)<br /><br />So casting an actor in her late 30s in the role of Lady Glencora means that the age of the character doesn't catch up with that of the actor until the series is in its final episodes; this is also true of almost every other character, as I note in the post. The roles could have been cast with actors still young enough to convincingly portray their youthful characters, and aging them over the course of the series using makeup, wigs and costuming. This was done brilliantly with Francesca Annis in the series <a href="https://exoticandirrational.blogspot.com/2012/12/favorites-of-2012-television.html" rel="nofollow"><i>Lillie</i></a> (1978), which covers a far greater time span: six decades rather than two and a half. Or, each character could have been portrayed by two or three progressively older actors over the course of the series (as is being done currently in <i>The Crown</i>).<br /><br />Finally, there's simply no excuse for having Lady Glencora kiss Burgo Fitzgerald as they are dancing, surrounded by other couples and onlookers. It would be a scandalous violation of decorum and would render it impossible for Palliser to make her an offer of marriage.<br /><br />That said, I enjoyed (and agree with) your review of <a href="https://elizmoore65.blogspot.com/2015/05/the-barchester-chronicles-1982-review.html" rel="nofollow"><i>The Barchester Chronicles</i></a>, in which Susan Hampshire was far better cast, and which <a href="https://exoticandirrational.blogspot.com/2011/09/guide-to-novels-of-anthony-trollope.html" rel="nofollow">I've also praised</a>.<br /><br />Best,<br /><br />P.Pessimisissimohttps://www.blogger.com/profile/04223566131580795337noreply@blogger.comtag:blogger.com,1999:blog-9186118329509553435.post-32262683450540401692021-09-19T04:40:56.216-07:002021-09-19T04:40:56.216-07:00so glad you included that footnote, as i happen to...so glad you included that footnote, as i happen to adore that version of the song. Spike Jones is also responsible for this: https://www.youtube.com/watch?v=6mfs9-ZBM-I<br />Zackhttps://www.blogger.com/profile/16327878580539116194noreply@blogger.comtag:blogger.com,1999:blog-9186118329509553435.post-3004772914784413802021-08-17T15:44:25.734-07:002021-08-17T15:44:25.734-07:00The series stretched for nearly 30 years, not a me...The series stretched for nearly 30 years, not a mere 20.Liz's Journalhttps://www.blogger.com/profile/13443856425679339434noreply@blogger.comtag:blogger.com,1999:blog-9186118329509553435.post-3975586014515455342021-08-17T15:43:02.872-07:002021-08-17T15:43:02.872-07:00Yet another example of miscasting: Lady Glencora M...<i>Yet another example of miscasting: Lady Glencora M'Cluskie "has only been out a few months," as we are told by one of the characters in The Pallisers, placing her in her late teens. The actress portraying her, Susan Hampshire, was 37, and even though she looks younger than her age is still far too old. Plus, Raven has her behaving far too brazenly with her swain Burgo Fitzgerald. Lady Glencora is flirtatious, but would hardly kiss her partner openly on the dance floor before all her family and acquaintances—no young woman of her class, situation and era would.</i><br /><br /><br />This argument would hold water if the series was only set during the period of the first six to twelve episodes. But "THE PALLISERS" stretches out to nearly 30 years, which means Hampshire had to portray the character as she ages from her late teens to at least her late 40s or early 50s.Liz's Journalhttps://www.blogger.com/profile/13443856425679339434noreply@blogger.comtag:blogger.com,1999:blog-9186118329509553435.post-7758181475747611382021-08-04T14:05:34.755-07:002021-08-04T14:05:34.755-07:00I totally agree that it should be in the standard ...I totally agree that it should be in the standard repertoire. Regarding the young Jay Hunter Morris singing noctambulist, I was at that Louise (I think I saw it 4 times) and I didn't know him then but was struck at how beautiful his music came across!BenBobhttps://www.blogger.com/profile/10880492425212677342noreply@blogger.comtag:blogger.com,1999:blog-9186118329509553435.post-64513965196072713832021-07-12T17:19:22.214-07:002021-07-12T17:19:22.214-07:00I whole heartedly agree that Louise deserves to be...I whole heartedly agree that Louise deserves to be performed on the world's opera stages. If memory serves me correctly, the last time it was heard in New York was with Beverly Sills in the title roll at the City opera. The last Met performance was with Dorothy Kirsten in the 1940's. It is a lovely opera that should be a staple in the repertoire.<br />Anonymoushttps://www.blogger.com/profile/08089447736829861126noreply@blogger.com