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Lindsey Stirling makes $6 million


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BTW...try as I might...I can't handle opera...I don't think I am less cultured for that. I am glad I have other vocals to listen to...

 

To really love opera, you need to play it (in my opinion). Taking Butterfly toward her final fatal act was one of THE most intense musical/emotional experiences I've ever had. At the very least, see it live, in a small house (with supertitles). 

 

Opera is a popular art form, not an especially "cultured" one. Passionate characters, impossible situations, con men, buffoons, betrayal, forgiveness...soap opera, really, on the grand scale. 

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I saw Carmen (with supertitles) at the Prague Opera House...I hope that counts! :)

 

I'm pretty sure seeing Hugh Jackman at the local movie theatre in Les Mis doesn't... :ph34r:

 

OT...we have a local soprano singer I actually enjoyed = but she was singing Art Songs...

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The European houses are nice--much more intimate than the options we have in our major cities (compare a capacity of a typical state opera house in Europe, around 1,200, to our typical cavernous 3,000 seat houses in North America)....Even the Vienna Staatsoper seats a mere 2,100, in contrast to the Met's 3,800. I think Prague's house seats a little over 1,000.

 

Kids seem to have a natural love of opera--maybe they are more capable of breaking the fourth wall than we adults. 

 

Meanwhile, I am off to practice Hansel & Gretel--rehearsals start next week. The viola part is a beater.

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Could someone tell me how I can make just half as much as Lindsey Stirling playing the violin?

  First have a rich daddy or a financial backer willing to produce you. 

 Be cute and "doll like" looking and under 25. 

 Hire a PR team and a rock band. 

Produce a music video series on your current CD to promote your touring. Plan on spending half a million or more on production costs.

 

Be the one chosen by a production company to fill the slot they need for Cute Doll Like Violinist with Prog Rock Band for 12 to 35 year old Tom-Boy - Mildy Rebel Girl Dreamer Female Consumer Demographic. 

 

It's really super simple, like a formula in fact. 

 

Young women buy more music today, top consumers, so the industry focuses on the buyer, and pop music makes the most sales. 

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  First have a rich daddy or a financial backer willing to produce you. 

 Be cute and "doll like" looking and under 25. 

 Hire a PR team and a rock band. 

Produce a music video series on your current CD to promote your touring. Plan on spending half a million or more on production costs.

 

Be the one chosen by a production company to fill the slot they need for Cute Doll Like Violinist with Prog Rock Band for 12 to 35 year old Tom-Boy - Mildy Rebel Girl Dreamer Female Consumer Demographic. 

 

It's really super simple, like a formula in fact. 

 

Young women buy more music today, top consumers, so the industry focuses on the buyer, and pop music makes the most sales. 

Don't forget the single minded dedication to making it big and the incredible pushiness (usually carefully hidden from fans) required to break into the business. Oh, and a s**tload of talent.  Except for the violin, this isn't that much different from Taylor Swift or Katy Perry

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To really love opera, you need to play it (in my opinion). Taking Butterfly toward her final fatal act was one of THE most intense musical/emotional experiences I've ever had. At the very least, see it live, in a small house (with supertitles). 

 

Opera is a popular art form, not an especially "cultured" one. Passionate characters, impossible situations, con men, buffoons, betrayal, forgiveness...soap opera, really, on the grand scale. 

 

I recently met a young singer who lives in Austria. I seldom get to talk about classical music, and he is pretty bright, a bass just beginning to work professionally. I said I like the Italian's and I know there is often not lot of sophistication with plot, but I like the way they write for the voice as opposed to Wagner. A bit of Wagner goes a long way for me, it's not emotionally where I want to hang out. I'd give one whole Wagner opera for the Nile scene in Aida and a great soprano like Pryce. 

 

He was very judgmental of my choices and with a dismissive snap of the fingers, said all of Italian opera was total nonsense. He said Berg's Wozzeck was what he listened to and wanted to sing.

 

I said yes, fascinating, do you know Dieter Appelt?  He didn't. This young man was also interested in photography and Dieter Applet is a German photographer who also had a career as a singer and his specialty was Wozzeck. So I got to pair off the young man with the works of this photographer and singer and then told him where all the Appelt works are in Germany, he could go see them himself. 

 

Maybe some day he'll grow to like Italian opera and just take it for what it is and is not, who knows.  It's so funny how you see these patterns, I knew about Dieter Appelt, Wozzeck and Aida twenty five years ago and processed all this information with the same youthful gusto to throw myself into the defense of one genre over another.

 

I felt good that I side stepped a tedious argument with a half informed kid. There was a terribly large amount of information about art photography that I could have dumped on him to make him feel small, but that would have been stupid and insecure. If he goes for looking at Dieter Appelt it will serve as a gate to other photographers. 

 

His big defense of Berg was that he said most people are not willing to listen past ugliness in music to get to meaning. He talk at length about dissonance and how it served as an exterior expression of interior perception and to really say what Berg had to say he had no choice but to turn to a hard or harsh sound. I was interested in this because most people are in fact only interested in sweet music and he was correct. But he continued and I tried not to laugh in his face when he said it, "Italian opera is shit because it is so easy to listen to, not like Berg where you must work to get the meaning." I said yes I understand what you mean, I'm willing to go into a music I don't understand and spend the time to make it have meaning to me. And I said but sometimes it's nice to just got for a ride in an Italian convertible with the top down and not worry too deeply about what it means.

 

In art school we had an 'in joke' in the from of a saying: High Modernism Promises Difficult Pleasures

 

The truth is, going deep to understand a difficult music or art form separates you from others who choose not to put in the time. I propose changes: High Modernism Promises Difficult Pleasures, and some lonely days and nights. 

 

And there is where Italian opera comes back in, everyone can enjoy it together and we feel less lonely because only 10% of your friends will go to Wozzeck. Of course when you are young you don't know this yet. 

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Yes. It is wonderful to know everything, isn't it? But then at some point, you just understand. You GET IT. It isn't intellectual anymore. It is just its own truth. That is Mozart to me. I experience him in non-analytical ways. When I told a young friend (who I am sure knows a lot--she was in college, after all) that I'd spent the previous evening playing Mozart quartets, she sniffed, "Oh, Mozart viola parts are so boring." Sigh. My endorphins tell me otherwise.

 

Playing Pucchini was really eye-opening. He is not at all like Verdi (whom I love, but whose orchestra parts are pretty square). Everything in Pucchini is fluid, a running narrative full of leitmotifs. He's more akin to Wagner than Verdi, musically. Strange chromatics, too. And his heroines....women in impossible situations.

 

I don't know how I feel about "high modernism." Maybe I am a "low modernist." Bartok's Bluebeard's Castle  is the single most stunning operatic experience I've ever had (as audience). It took my breath away, and continues to. Yet it has a very ancient quality to it, as all Bartok does. I like other "modern" works, too. Poulenc's Dialogues of the Carmelites, Britten's operas, Barber's Vanessa. Stravinsky's Rake's Progress--they are all incredibly moving and thought-provoking. But that night, the one-act Bluebeard was offered as the "opening act" for Schoenberg's Erwartung. I was SO angry I wanted to get up and leave. Bartok (to me, anyway) is an infinitely superior composer. He is an artist. Schoenberg? A pedant.

 

Art exists somewhere apart from intellect. It is a living thing, too complex and changing to submit to the ossification of academics (among whom I must unfortunately count myself).

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I am not a huge fan of musicals either...but don't mind a little.  I also like my hour of TV vegetation before bed.  Last night I caught "Crazy Ex-Girlfriend"...it's actually well done (if you like that genre - musical comedy)...

 

Just sayin'... ^_^

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I think David Garett and Lindsey Stirling had the same "Rise of Fame" strategy. Both are just heavily/overly produced. That, and they play crowd pleasing music. Neither of them are close to being exceptional violinists, yet many call David the "Best living violinist" due to his flight of the bumblebee "world record", and how he "rock-ifies" the "classical" music that he plays. Instead of changing music, Lindsey Stirling dances, to entertain. Pretty original, I must say, but not my cup of tea.

 

I'm not saying he cant play classical music properly, I have just yet to see a recording of him doing it.

 

And if we're being honest, their looks has a lot to do with why they are famous. If they put real doctors on Greys Anatomy, for example, do you think as many people will watch it? Or if they put real cops on CSI, would as many people still watch it? They would have to increase the food budget though....

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