Frontierado is celebrated the first Friday of every August, so this year it will be marked on August 4th. This holiday celebrates the myth of the old west, not the grinding reality. Here’s a seasonal post regarding my look at an opera version of the original Django spaghetti western from 1966, which strips the story down to its essentials, with no gold subplot.
DJANGO: AN OPERA – Here at Balladeer’s Blog I love sharing my enthusiasms. My blog posts where I provide contemporary slants to Ancient Greek Comedies to make them more accessible have been big hits over the years, so I’m trying it with operas. A little while back I wrote about how Philip Wylie’s science fiction novel Gladiator could be done as an opera. This time I’m addressing the 1966 original version of the Spaghetti Western titled Django.
IF YOU HATE OPERAS AND YOU’D RATHER JUST READ MY MOVIE REVIEW OF THE 1966 DJANGO, CLICK HERE
DJANGO
LANGUAGE: Spanish. I’ve resigned myself to the fact that most of my fellow English-speakers find English-language operas to be silly. The prosaic nature of the forced rhymes in a language we are well-versed in does seem to rob opera of its mystique and its grandeur.
I fall into that trap myself. I’ve noticed I can never lose myself in a Gilbert & Sullivan work like I can with La Forza del Destino or Tales of Hoffmann or any other opera sung in a less familiar language. At any rate, I’ve chosen Spanish for this opera because so much of the story takes place in Mexico during the war to dethrone Emperor Maximilian.
SINGERS: A Tenor, 2 Baritones, a Soprano, 3 Basses and a Mezzo-Soprano
For Django, I’m making it a two-act opera as opposed to the three-act format I used for Gladiator.
ACT ONE: MARCH 1867. A STRETCH OF BARREN DESERT ALONG THE US/ MEXICO BORDER.
Scene One: The opera would open with a stage version of one of the most iconic visuals from the 1966 film. Our title character, DJANGO, clad in his long blue jacket with his well-worn Union Army uniform underneath it, slowly, wearily drags a coffin behind him as he walks along singing his mournful song. He pulls the coffin via a rope slung across one shoulder.
The coffin symbolizes the burden of grief that Django has carried with him ever since his wife was killed during the U.S. Civil War by Confederate MAJOR JACKSON. Django has pursued his ideological and personal enemy across the west and now to this battle-scarred border town.
The vile Major Jackson and his former Confederate soldiers have turned into outright Klansmen. Jackson and his men are among the former Confederate military men who took up Emperor Maximilian’s offer of land and citizenship in Mexico (where slavery was still legal). In exchange they had to fight to help Maximilian retain his throne. Continue reading
FACULTY LOUNGE FASCIST ROUNDUP: March 19th, 2018 
Here at 
Republican office holders who are descended from slave owners include some of my frequent targets for bashing over present-day corruption like Mitch McConnell, George W. Bush and Lindsey Graham.
THE MAN FROM PAINTED POST (1917) – Here is another Douglas Fairbanks movie from the years before he became the film world’s premier swashbuckler. Unlike the pure comedy of Fairbanks’ 
BAD MOVIES: There was 
ANCIENT SCIENCE FICTION: I reviewed 
COMEDIES: MODERN PARODY HALL OF FAME: The full breakdown 
NEGLECTED GUNSLINGERS: 
THE MYSTERY OF THE LEAPING FISH (1916) – Regular readers of Balladeer’s Blog may remember that I’m a geek for Silent Movies. Last week’s look at 
The short’s comedic approach to cocaine, opium and more demonstrates the “anything goes” attitude before film codes were implemented to ban certain content from the big screen. In the pre-internet years, The Mystery of the Leaping Fish was a film that people refused to believe existed until you had them sit down and watch it with you.
Balladeer's Blog 