October 10, 2010

10/10/10. If I waited a few hours it could be 10/10/10 at 10. Palestrina on the CD.

Took DJ to the see Asheville Lyric Opera’s The Magic Flute. The orchestra had some intonation problems, and the conductor didn’t seem completely comfortable, but the overall effect was thoroughly entertaining, and the piece settles deeper into its status as one of my perpetual favorites. The music is beyond flawless. The plot is ludicrous, of course, and this production’s approach made the funny spots truly funny, rather than just weird, which is what some settle for. The transcendent quality of the play comes from a vision which Mozart shares, in my experience, only with Shakespeare: that is the smiling conviction that the highest solemnities in the world and the most raucous earthiness are on exactly the same level, and each the road to joy. Those of us who are high and solemn are saved by conviction and solemnity. Those of us who are simple and kind are saved by kindness. Silliness from a pure heart is as good as heroism. Tamino is a hero and does everything right. Papageno is a appetite-driven lout who does everything wrong, and yet both get their hearts’ desires, and no one would contest the Papageno is the apple of Mozart’s eye. Papageno, after all, finds and rescues Pamina; he is unfallen Tristan, a hero who never beats his shield and shouts. Mozart mocks chivalry without dismissing it. It’s fine for them for whom it is right. Most of us can’t carry it off. Most of us are hungry, scratching Papagenos who forget the solemn vows we just made and wander about in a chaos of appetites, which we trust–correctly, it turns out-- to pure-heartedness to redeem. The slob next door is not necessarily any less sanctified than Galahad on his white stead. ALO was fortunate in having a Papageno who was personable, comic without exertion, an actor of great skill, and all the qualities mentioned above were asserted without being preached.

DJ and Bill and Amy and I had dinner before and drinks after the opera.