Liam Posted August 13, 2007 Share Posted August 13, 2007 I really wish Bach had more words in it. Mozart too. ... and without warning, a bud of an idea begins to germinate in the mind of some random show designer..... ^0^ Link to comment Share on other sites More sharing options...
drumcat Posted August 13, 2007 Share Posted August 13, 2007 I don't understand how people can say narration detracts from the music even though it is a part of the overall texture. You can listen to both can't you? When you listen to Led Zeppelin you don't complain about not being able to hear the guitar soloing because someone is screaming "I wanna be your backdoor man" do you? Same deal. Zeppelin never told me how they designed their shows... "First, we start with the pot. The really good stuff, man." "Next, we add the booze..." Link to comment Share on other sites More sharing options...
Einstein On The Beach Posted August 13, 2007 Author Share Posted August 13, 2007 You know, I would have to say that too. I would rather see Cadets live than BD. One thing that Star 93 had was a great Hornline. So did Cadets 07. Main difference... you could hear Star's hornline the WHOLE show. I wish I could see "This I Believe" sans narration. Even without Narration this show shouldn't be drawing comparisons to Star 93. Oh okay sugar lips Link to comment Share on other sites More sharing options...
Littlehendrix Posted August 13, 2007 Share Posted August 13, 2007 Personally, from what I saw BD may not have had the most entertaning show....but at least i could stand to sit through that......if i wanted to be told whats going on in the show I would go to BOA..........this is not Drum Corps in my opinion..... Link to comment Share on other sites More sharing options...
MikeN Posted August 13, 2007 Share Posted August 13, 2007 Oh okay sugar lips Come on, man, play nice. Mike Link to comment Share on other sites More sharing options...
zachariaswmb Posted August 13, 2007 Share Posted August 13, 2007 I really wish Bach had more words in it. Mozart too. From Wikipedia: Mozart's Operas: * Die Schuldigkeit des ersten Gebotes, K. 35 (1767) * Apollo et Hyacinthus, K. 38 (1767) In 1767 Mozart composed his first opera, if one may thus call the scholastic musical drama Apollo et Hyacinthus. * Bastien und Bastienne, K. 50=46b (1768) With respect to that first attempt, Bastien et Bastienne generates a definitely different result. The young musician is already able to dominate texts and his music emanates pastoral joy and spontaneous fascination. * La finta semplice, K. 51 (1768) La finta semplice can be considered Mozart's first - only partially achieved - approach to the Opera buffa genre. * Mitridate, re di Ponto, K. 87 (1770) Then, the first Italian operas were composed, upon assignments received in Milan and Salzburg: Mitridate, re di Ponto, Ascanio in Alba, Il sogno di Scipione, and Lucio Silla. In all of these works, Mozart still shows some awkwardness while moving in the traditional opera seria frame. The librettos are often dramatically weak and improbable. Nevertheless, one can find in these works some unambiguously Mozartian distinguishing marks, though the weight, substance and formal perfection of the older Mozart are still lacking. * Ascanio in Alba, K. 111 (1771) * Betulia Liberata, an oratorio, K. 118=74c (1771) On the subject of Judith and Holofernes. * Il sogno di Scipione, K. 126 (1772) * Lucio Silla, K. 135 (1772) * Thamos, König in Ägypten (1773, 1775) * La finta giardiniera, K. 196 (1774-5) With La finta giardiniera, Mozart comes back to the opera buffa, outranging all previous models of that genre. The libretto is still weak, but characters are not schematic anymore and become real individuals, with music definitely contributing to their definition. * Il re pastore, K. 208 (1775) * Zaide, K. 344 (1779) * Idomeneo, K. 366 (1781) * Die Entführung aus dem Serail, K. 384 (1782) After many years from his debut in the German music drama (Singspiel), Mozart came back to this genre with Die Entführung aus dem Serail and, finally, with Die Zauberflöte. * L'oca del Cairo, K. 422 (1783) * Lo sposo deluso, K. 430 * Der Schauspieldirektor, K. 486 (1786) * Le nozze di Figaro, K. 492 (1786) Le nozze di Figaro, the first of the three great operatic works, all belonging to the opera buffa genre (though the Don Giovanni obviously involves tragic elements), that Mozart composed with libretto by Lorenzo da Ponte. Le nozze di Figaro was taken from the comedy Le mariage de Figaro by Pierre Beaumarchais, a work that was hardly accepted - and performed - in France, due to its denunciation contents against the flaws of the higher dominating classes (Clergy and Aristocracy), opposed to the healthy activism of the Third Estate. In Austria, too, Mozart's opera met the opposition of the imperial court, though it should be said that Da Ponte had purged the most shocking aspects from the original text. Actually, the opera was executed during the Spring of 1786 at the Vienna Burgtheater, with enormous success. * Don Giovanni, K. 527 (1787) The trilogy of Da Ponte librettos continued with Don Giovanni and Così fan tutte, both dealing - but in highly different ways - with the subject of love between men and women. * Così fan tutte, K. 588 (1789) * Die Zauberflöte, K. 620 (1791) Die Zauberflöte has been criticized for the absurdities of its libretto (by Emanuel Schikaneder), that was probably rehandled several times. It also achieved scarce success at its first performance. Nevertheless its music proposes elements of great brightness and spirituality, with the composition of sacred and profane love in unique delight. This work was also influenced by Freemasonry. * La clemenza di Tito, K. 621 (1791) I think you'll find the words work nicely. Link to comment Share on other sites More sharing options...
gimpy Posted August 13, 2007 Share Posted August 13, 2007 Zeppelin never told me how they designed their shows..."First, we start with the pot. The really good stuff, man." "Next, we add the booze..." "In High School, I didn't really fit in. But then I discovered the Lord of the Rings trilogy, and something AMAZING happened." Link to comment Share on other sites More sharing options...
dmacp Posted August 13, 2007 Share Posted August 13, 2007 Did anyone else have the "Napoleon Dynamite" moment? Definitely.... I kept waiting for the following lines.... "Hoppy offers you his protection." or "This one guard kept wanting me to join because I'm pretty good with a bow-staff" Although I guess now he could say... "The worst day of my life, what do you think" Link to comment Share on other sites More sharing options...
bradrick Posted August 13, 2007 Share Posted August 13, 2007 I was actually pretty touched by the Cadets show. I mean, to be perfectly honest, if you didn't like it ... then you just didn't like it. There fixed it. :P They had a great run. And regardless of placements or scores, they performed their show at a level that I found inspiring. One of the more interesting things that somebody just pointed out to me is the beautiful irony that the people who spoke out that they didn't believe the Cadets' show benefitted from the use of narration - were just voicing what they believe. And I believe that the Cadets realize there's room for both supportive and contrary opinions of what they put out there in 2007. Afterall, the Cadets' entire show ended with "I believe in choice". B) Link to comment Share on other sites More sharing options...
VKMello84 Posted August 13, 2007 Share Posted August 13, 2007 I think everyone can safely agree that the Cadets should have won.I can't even safely comprehend the level of delusion behind this sort of statement. Link to comment Share on other sites More sharing options...
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