It is very sad that "depression" hit the news recently with much debate and justifiable concern regarding medical & psychiatric treatment. Yet we have in recent times perhaps seen the dis-inhibiting effect of medication leading to major tragedies. The assumption is of course that it was the responsibility of doctors/psychiatrists which implies that both success and failure are their responsibility.
Yet we may have overlook how one great writer amongst many managed. By the most important Freudian way and without medication: Sublimation!
©2014 Am Ang Zhang
The Cockroach Catcher could not miss the great opportunity to see a new production of Werther at the Met.
The 5 hour wait for the day ticket was worth it as one gets to chat to other opera lovers. One originates fromPoland and he managed to get to Bayreuth after a good seven years. Another one tries to be there twice a week during the season.
The Metropolitan Opera in New York
Even Goethe admitted that killing Werther probably saved him. He completed The Sorrows of Young Werther in just 6 weeks perhaps in a fairly manic phase and established himself as Germany
Sophie Koch, left, as Charlotte and Jonas Kaufmann in the title role in "Werther" at the Metropolitan Opera.Sara Krulwich/The New York Times
The Massenet Opera had one of top tenors Jonas Kaufmann singing Werther and Sophie Koch, Charlotte
Kaufmann in an interview agreed that Goethe probably would have been medicated nowadays.
Lithium perhaps.
Just as well it never happened.
Jonas Kaufmann in the title role of 'Werther' at the Metropolitan Opera (Brigitte Lacombe/The Metropolitan Opera)
"The greatest tenor of today": Jonas Kaufmann in the Met's new production of "Werther"
„... currently the most in-demand, versatile and exciting tenor in opera. …. To be a great Werther, a tenor must somehow be charismatic yet detached, vocally impassioned yet ethereal. Mr. Kaufmann is ideal in the role. He sings with dark colorings, melting warmth, virile intensity and powerful top notes. There is a trademark dusky covering to his sound that lends a veiled quality to Mr. Kaufmann’s Werther and suits the psychology of the character.”
Anthony Tommasini, New York Times
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