![]() Isn’t opera meant to aspire to a fusion of greatness of words and music, not to have one come limping behind the other in the dusk? I wonder whether this acceptance of verbal mediocrity is common. Yes, Donne feels that his soul has been captured by the Satanic desires of the. ![]() It’s as if the critics felt the music was all that mattered or wanted so badly to praise the opera for its “daring” and profound subject matter that they found ways to minimize the emptiness of its actual verbal content. Expert Answers David Morrison Certified Educator Share Cite I would argue that this assertion is only partly true. The New Yorker mostly avoids the subject, saying “purely as an experience in sound, the Met’s Atomic was a triumph.” He must be talking about the sound, not the words, when he refers to the “skull-splitting” duet as “sumptuous.” And the sapient Clive Barnes made the contradiction most explicit when he called the opera “terrific” but admitted that the libretto was “dull.” “Terrific” and “dull.” Sorry, they don’t go together. In the first line, when he said three-personed God, he was referring to the Father, Son, and the Holy Spirit concept (Jokinen). Bethany Sweeney Is the heart a rectum In recent years, this question has seemed to dominate criticism of John Donne’s Holy Sonnet Batter my heart. ![]() The New York Times critic strenuously praised just about everything in the opera while artfully avoiding any explicit reference to the words. Batter my heart, three-personed God by John Donne, , Download Views 654 Analyzing the poem by John Donne closely, we can see that he used a lot of figures of speech in order to convey what he feels. In New York magazine we are told the libretto mixes “leaden lingo” and “opaque poetry,” but somehow that doesn’t matter because the music and sets are so good. ![]()
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