And the louder-and-louder Act III closing septet (quintet, really, with voice-unders; Otello mutters only ten words) has always struck me, for all Verdi's efforts, as more operatic convention than music-as-drama.
One of the best headings for saving space is the heading that is run in.
...Think you've got the best name I've heard, she was saying. - - Anthony Patch. Only you ought to look sort of like a horse, with a long narrow face - and you ought to be in tatters. That's the Patch part though. How should Anthony look? You look like Anthony, she assured him seriously - he thought she had scarcely seen him - rather majestic, she continued, and solemn.
...Think you've got the best name I've heard,
Anthony Patch. Only you ought to look sort of like a horse, with a long narrow face - and you ought to be in tatters.
That's the Patch part though. How should Anthony look?
You look like Anthony,
rather majestic,
and solemn.
Cheer up, the weekend's almost here.
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