It rhymes in Russian which is the funny part. He must have been very amused to read it... especially the allusions to tasty stuff...
Многоуважаемый А.К. Глазунов
Вы который, Вы, который
Нам Бетховена милей,
Самый ранний, самый скорый
Вы, которому хваленья
Сыплет мир со всех сторон,
Leaving the "plot hole" aside, that drew my attention to other things, the performance itself. Overall, I approve of the conductor. He picked some excellent interpretations for some of the numbers, though on certain things I heavily disagreed on. But another thing struck my attention: the orchestra was holding itself back. But... why? This isn't opera where the orchestra could easily overpower singers! This is ballet! Can music overpower dancing? Pish-posh! The absolutely awesome sections
Updated Feb-25-2016 at 19:12 by Huilunsoittaja
Waking up this morning, it dawned on me.
I wanna go back and see it again tonight.
And tomorrow night. And the night after. EVERY TIME.
Let me start from the beginning, just a very simple chronological description of events.
It took me almost 2 hours to get to the Kennedy Center but I still arrived 40 minutes early. It was pouring like crazy, like a typical summer thunderstorm!
In that picture of the Kennedy Center Opera House, I'm sitting on the floor on the left side, 3 rows away from the pit. I'll have great sound besides a great view, I think. I'm gonna be in the thick of the crowd!
A friend of mine posted on Facebook that she had gone to see Raymonda last night, and she was raving about it. I had no idea any of my other friends knew about
A theme specific to Act I is Raymonda's love theme of longing for the absent Jean de Brienne, a woman's love:
Abderakhman's theme is with some Middle Eastern "flavor" and is often truncated to the triplet figure as his motif whenever he is present on stage and involved with the action. His theme is transformed into many different emotions, for somber, to noble, to hostile. Here is his amorous side with Raymonda:
Updated Feb-25-2016 at 22:33 by Huilunsoittaja