What a long, strange trip it's been -- (Robert Hunter)
Nov 3, 2017 at 2:31 PM Post #5,372 of 14,074

FLTWS

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Had a fantastic dream I was asked to emergency conduct a concert performance of Walküre. Alas I was so bad the prompter had to repeatedly correct my number of beats per measure.

LOL!
 
Nov 3, 2017 at 3:04 PM Post #5,373 of 14,074

KoshNaranek

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Had a fantastic dream I was asked to emergency conduct a concert performance of Walküre. Alas I was so bad the prompter had to repeatedly correct my number of beats per measure.
Seek professional help. Seriously.







:wink:

Edit: just figured out how to use emojis!
 
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Nov 3, 2017 at 5:44 PM Post #5,375 of 14,074

jimmers

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Had a fantastic dream I was asked to emergency conduct a concert performance of Walküre. Alas I was so bad the prompter had to repeatedly correct my number of beats per measure.
Wow, if that was a fantastic dream for you I would hate to have one of your nightmares.
 
Nov 3, 2017 at 9:21 PM Post #5,376 of 14,074

Pandahead

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Nov 5, 2017 at 10:48 AM Post #5,380 of 14,074

Ableza

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Nov 5, 2017 at 1:34 PM Post #5,381 of 14,074

bosiemoncrieff

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It was a solid performance of Jules Massenet's Manon, though it fell into a common lazy practice by contemporary directors. The set itself was an ambiguous space, sometimes just black floor black walls, sometimes with a cyclorama that went halfway up the back of the stage and could serve as a balcony to view the downstage area. Sometimes there were mirrors on either side of the stage, so that actors exiting R or L would see themselves reflected.

The blah thing was that costumes were generally period, perhaps a few decades forward. Men wore mostly black tie with top hats. Women varied a bit. I saw at least one wig. However, as the performance went on, an absurdist element became plainer. The casino scene was its zenith. Placing generally conservative costumes, a period writing desk, etc. in an abstract space seems like reaching for the famous met Traviata with the red dress and big clock but without the courage of its convictions. It was decent but not exceptional. There was a recurring balloon trope that I didn't get.

Michael Fabiano is a bit of a Mario del Monaco, very loud but with a good tone. High notes did not grate, as they did in Don Carlo. He might sing Otello. He might sing Siegmund. I want to see him sing Tannhauser.

On the opera itself, I wish Massenet had chopped off the love duet from the end of the 3rd act and stuck it at the end of the monastery confrontation scene that ends Act 2. Have Manon come back, syphillitic, and beg for forgiveness as she dies in Des Grieux's arms. The whole casino gambling thing has aged very badly; it no longer signals status, but addiction and desperation. It's my least favorite part of Traviata. The jail for "fallen women" was ludicrous.

I spoke to an usher during the second intermission who said that she liked Turandot most this season, which I haven't seen because Ping Pang and Pong (the princess's assistants) are just such a lazy, borderline offensive, summation of Chinese culture. (Think of UCLA girl who did an impression of "loud asians" in the library saying "ching chong ling long ting tong.") I had another thought, though, of something Slavoj Zizek recounted, a native american associate claiming that he enjoyed white people referring to indigenous peoples of the Americas as "Indians" because it drew attention singularly to the ignorance of the white man. Perhaps he would feel similarly about Puccini (and The Mikado).

The SFS concert on Friday — Bernstein's 2nd symphony with Thibaudet on piano and Heldenleben by Strauss — was magnificent. However, I know neither work, so this was merely a transfixing first hearing. Next weekend will be my first without classical music in two months, I think. Taking a trip to the santa cruz pad for the long weekend!

EDIT: Just as watching some aristocrat in Barber of Seville secure the help of a servant girl through the use of a gold coin is a lazy look at dynamics of money and power versus Mime and Alberich in Das Rheingold, so watching Manon's investigation of erotics and wealth is much less satisfying than the parallel (though different) dialectic going on in Tannhäuser. Wagner's gamble that setting his operas in a distant past would make them permanently old—and therefore timeless—has proven itself a good one. I spent the opera wishing I was watching Tannhäuser.
 
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Nov 5, 2017 at 1:55 PM Post #5,383 of 14,074

gdhal

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Hello MM.

I'm a recent (1 month) satisfied owner of your Schiit Yggdrasil DAC. Question for you regarding the statement (not sure if by you, JS or one of your company reps) about how the Yggy performs "rounding" instead of "truncation". If you were to use pi (the ratio of a circle's circumference to its diameter, where 22/7 is used to approximate its value) as an example, could you list - hypothetically speaking of course - what the number might look like? For instance, would the Yggy consider pi "3.14", "3.1459", "3.14159265359", or something else entirely? Thank you.
 
Nov 5, 2017 at 3:00 PM Post #5,384 of 14,074

rkw

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@Baldr

Hello MM.

I'm a recent (1 month) satisfied owner of your Schiit Yggdrasil DAC. Question for you regarding the statement (not sure if by you, JS or one of your company reps) about how the Yggy performs "rounding" instead of "truncation". If you were to use pi (the ratio of a circle's circumference to its diameter, where 22/7 is used to approximate its value) as an example, could you list - hypothetically speaking of course - what the number might look like? For instance, would the Yggy consider pi "3.14", "3.1459", "3.14159265359", or something else entirely? Thank you.
I replied to your post in the other thread. In summary, Yggy's 20 bit resolution is equivalent to slightly more than 6 decimal digits, so pi value would be 3.14159 or 3.141592 (bit to decimal doesn't translate exactly).
 
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