Horace (GF) (French Edition)

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Oh, what a night! And this is followed by the real showpiece of the evening, Flamme vengeresse , a nice lively tune, richly embellished with truly intricate coloratura.

Sumi Jo is tremendously good here. And more is to come. The deliciously scored orchestral introduction is Auber at his most inventive. The indisputable star of this performance is of course Sumi Jo. This set is worth buying for her sake only, but there is a lot more to admire. The music is melodious and attractive and even though none of her co-singers reaches her excellence, as a team they make this a valuable addition to the catalogue of recorded opera.

An armful of roses goes without a doubt to Richard Bonynge for his realisation of this score. These eight ballet movements are pleasing listening experiences and the last half of the suite is a thrilling intensification. The only black mark is the absence of a libretto.

The synopsis gives the outline of the story, but it is always interesting — and sometimes essential — to know what happens within the separate numbers. If you are fluent French speaker — which I am not — you will be able to follow the proceedings anyway, and if you are satisfied with the general overview the synopsis conveys, you will derive a lot of pleasure even so. A third option is to just shut your eyes and enjoy the music.

Whichever alternative you choose you will hear a Sumi Jo in sterling form — and that is something not to be missed. Donate and keep us afloat. In his preface to the second edition, to which Walpole appended his own name, he writes:. It was an attempt to blend the two kinds of romance, the ancient and the modern. In the former, all was imagination and improbability: Invention has not been wanting; but the great resources of fancy have been dammed up, by a strict adherence to common life.

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Walpole here observes the same trend noted by Dr. Johnson in his Rambler , No. The formal solution Walpole devises to this problem of how to write fantastic fiction in a realist age is one that is still with us today: Walpole lives on in every meticulous horror-movie attempt to create a real world for the the monster or the demon to reduce to ruins. The most recent example that comes to my mind is the family psychodrama at the heart of the film Hereditary , complete with a stagey set-piece dinner-table argument that belongs, in terms of dramatic mode, to the realist theater.

The Castle of Otranto is not very good qua novel.

The plot is not worth recounting in full: The story is in constant motion—Walpole uses a five-chapter structure that mirrors Shakespearean plotting, and his method is more dramatic than novelistic, comprised mostly of action and dialogue—which means that we never come to care about any of the characters, who exist only as types cruel tyrant, pious mother, young brave, etc. Theodore, under pretence of expressing his joy at being freed from his apprehensions of the combat being fatal to Frederic, could not resist the impulse of following Matilda.

Her eyes were so often cast down on meeting his, that Isabella, who regarded Theodore as attentively as he gazed on Matilda, soon divined who the object was that he had told her in the cave engaged his affections. By blending a supernatural tragedy with a sentimental love story, Walpole fulfills his mandate of combining ancient and modern fiction-writing techniques.

How seriously are we supposed to take this quasi-Shakespearean tragedy anyway? It was printed at Naples, in the black letter, in the year The principal incidents are such as were believed in the darkest ages of Christianity; but the language and conduct have nothing that savours of barbarism. Write a customer review. Showing of 1 reviews.

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