"Music is more than a sex aid"

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Have I mentioned that I heart The Guardian (UK)'s theatre blog? No?

Well, consider its tremendousness mentioned. For today.

Here's my current bit of fascination: Peter Conrad writing on the Metropolitan Opera and its new Singles programs.

My first favorite line ever: Classical music, supposedly the purest of the arts, has always been a bit of a floozy.

Yes! Yes! Yes!

And speaking of that, he goes on to say,
Throughout its history, it has been busily working as a pandar, facilitating seduction and extolling the delights of carnal gratification.
OK, I had to look up "pandar." It's a couth word for pimp.

He even discusses orgasms at the opera (in the libretto, dahlings).

But then he lashes out against the corporate shilling now omnipresent at classical music events, especially, he says, opera:
On an average night, Covent Garden is given over to corporate hospitality, with contingents of City networkers braying, swilling and bonding. By contrast, using music as an aphrodisiac seems to me an innocent enterprise.

(Read more about a certain corporation that the UO, er, brays for, after the jump, plus: Classical music stays around in the morning. And no messy wet spots!)

I so want to talk here about the Oregon Bach Festival and the UO in general and, well, dependence on a certain corporate sponsor. I want to talk about the commissioning of a classical work to celebrate the man who began the corporation, and just how ridiculous that commission is, and how giving that corporation power over the Bach Festival's image (I'm not kidding) seems like a pretty big kind of whoredom.

But I'm busy this morning, and I'd really like to interview John Evans, the OBF's new executive director, about this decision first.

Plus, I think I might be insulting sex workers here, and maybe, just maybe, the OBF is doing the deed because its overlord pandar parent organization, the UO, is forcing it to. Because when the UO doesn't bow to that corporation, the bully corporation takes its toys and leaves the sandbox. And the UO didn't like that, and apologized to the bully, and now the bully gives a crapload of money to the school. Which makes people think the bully is actually a good corporation. Unh hunh.

But really, I need to talk to John Evans about this.

So back to Conrad: He says that actually, in a shock to all of us, classical music isn't all about orgasms:
It gives voice to the emotions that make every one of us sing, even if we can't carry a tune. It gets our blood pumping and our pulses racing, as the Met's satisfied customers will (I hope) be able to testify. And the next morning, perhaps more importantly, it is still around to commiserate with our sighs and tears.

I guess if I lived in NY, didn't have a partner but did have the $110 ticket price (for the singles nights — tix to the Met can be much cheapter), I'd be popping over for Le Nozze di Figaro (tonight! at 8 EST!) or Peter Grimes, which are, hilariously, the lesbigay nights at the opera. (Because the other nights at the opera? All about the straight people. Really.)

Agreed

I agree. Music is like forever, it never grows old and never dies.

Submitted by Piano Teachers (not verified) on Sun, 06/28/2009 - 22:55.

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