Quotes About Oratorio

Home should be an oratorio of the memory, singing to all our after life melodies and harmonies of old-remembered joy.

One modern oratorio adaptation, The Gospel at Colonus (by Lee Breuer and Bob Telson, 1989), based on Robert Fitzgerald's translation in our series, has been acclaimed by critics and audiences as a high point of twentieth-century adaptation of Greek tragedy.

In giving up the attempt to combine dramatic music with dramatic representation, the oratorio freed itself at once from all these absurdities, and all these limitations. It ceased to be acting marred by singing; it became recitation glorified by music.

The oratorio, then, stands pre-eminent, at least in the infancy of orchestration, among all the modes in which music may be wedded to dramatic poetry. It, and it alone, gives the musician the utmost latitude in the choice of his subject, and in the employment of his resources. It is Handel's glory to have perceived its capabilities, and to have developed them in a manner undreamed of by his predecessors, and unsurpassed by even the greatest of his successors.

Home should be an oratorio of the memory, singing to all our after life melodies and harmonies of old remembered joy.

A new austerity and prayerful privacy reigned. Oddly, this shift moved almost in lockstep with the growth of public musical theatre, as through the now idle impresarios o f the Catholic Church found fresh work in opera and oratorio.

I wanted to unite the popular and the serious, and to make a popular symphony, a popular oratorio.

The vibration of the heat was like the vibration of a sung oratorio. Only my hearing part was feeling. Closed-mouth canticle, sound vibrating deaf like something imprisoned and contained, amen, amen. Canticle of thanksgiving for the murder of one being by another being.