Non-Classical Music

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!

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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

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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:

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The earlier blogs were about things not necessarily related to the music itself, but simply the circumstances of its composition. The blog will pertain specifically to how Glazunov created the ballet.

Glazunov uses a series of themes and leitmotifs throughout the ballet to represent various characters of themes. He mixes and matches the themes depending on what is going

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Tolstoy's War and Peace always has protagonist groups of 3. Above, we see the main 3. But there are other trios who come and go, and mix together. My favorite character is Marya Bolkonsky, who I related to the most in the story. Her "trio" shifted around between her brother Andrei, Natasha Rostova, and eventually Nikolai Rostova. She is one of the great heroines of the

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