The moon has long been a subject of fascination and intrigue. Its ethereal glow, changing phases, and mysterious presence in the night sky have captured the imaginations of people throughout history. In recent years, there has been a resurgence of interest in harnessing the power of the moon for personal growth and transformation. This interest has given rise to a variety of books and resources that tap into the lunar magic to change one's life. One such book that has gained popularity is "The Moon Book: Lunar Magic to Change Your Life." This book is a comprehensive guide that explores the various ways in which the moon can be used as a tool for cultivating positive change.
This stage magic is a result of Taymor's long interest in Asian puppetry, particularly that of Indonesia where she spent four years, and of the Bunraku theater of Japan. She has a like-minded set designer and long-time collaborator in George Tsypin, who has adorned the stage with gigantic, mirror-lined triangles, circles, and squares that are moved about like a kaleidoscope. They are geometric symbols found both in Masonry and Tantric Buddhism.
This stage magic is a result of Taymor s long interest in Asian puppetry, particularly that of Indonesia where she spent four years, and of the Bunraku theater of Japan. Monostatos as the evil Moor is downplayed, but Taymor shows his shirtless troupe of threatening followers as Turks in flowing, blouson pants who are tamed by Papageno s chimes.
" This book is a comprehensive guide that explores the various ways in which the moon can be used as a tool for cultivating positive change. It delves into the ancient wisdom that connects the moon to our emotions, intuition, and manifestation abilities. "The Moon Book" starts by providing a historical and mythological context for our fascination with the moon.
Julie Taymor smothers 'Magic Flute' at Met
NEW YORK, Oct. 25 (UPI) -- Julie Taymor gave Broadway "The Lion King," and now she has given the Metropolitan Opera an even more fantastic production of "The Magic Flute" that nearly overwhelms Wolfgang Amadeus Mozart's delicate fairy tale about human enlightenment.
Making her Met debut as a producer, Taymor has taken on a lyric work that has previously been interpreted at Lincoln Center by two art world celebrities- - Marc Chagall in 1967 and David Hockney in 1990. Many Mozart fans must wish the Met had stuck with Hockney's beloved, brightly colored production originally designed for the San Francisco Opera.
AdvertisementMozart's allegorical opera is all about the natural world pitted against a world of Masonic-like ritual devised by a secret brotherhood seeking to free humankind from its baser instincts. The wise priest Sarastro represents enlightenment, and the happy-go-lucky, bell-ringing bird-catcher, Papageno, represents the innocent child of nature, ruled by his belly and his heart.
AdvertisementBut there are darker aspects to this opera than one would expect of a magical spectacle, and even Papageno considers suicide when he is separated from his love, Papagena. It is these aspects that are glossed over by Taymor's production as its smothers "The Magic Flute" in excessive stage business and visual artifice in the form of kites and puppetry the designer employed with such artistry in "The Lion King."
That Disney-produced Broadway hit musical won Taymor a Tony Award for direction and as been running for nearly seven years. Audience reaction to "The Magic Flute" would indicate that it is a crowd pleaser, too, but it is also disappointing in its failure to give Mozart his due by letting the composer speak through the music instead of smothering his voice with more illusion than any one show can bear.
Taymor's production recalls the excesses wrought by the Italian producer-designer Franco Zeffirelli at the Metropolitan Opera, especially in the case of "La Boheme" in which the cast was upstaged by massive sets and distracting stage business. But Zeffirelli productions have always paid off at the box office, and the Met apparently expects "The Magic Flute" to do the same and has scheduled more performances of it in April.
AdvertisementA short list of Taymor's operatic innovations would include the serpent that pursues the opera's flute-playing hero, Tamino, in the opening scene, a stage-breadth kite puppet controlled by 14 half-hidden manipulators, kites in the form of bears 15 feet tall that dance to the manipulations of three handlers, three ladies-in-waiting to the Queen of the Night wearing detachable silver head masks, and a flock of dancers as fluttering birds hopping about on stilts.
This stage magic is a result of Taymor's long interest in Asian puppetry, particularly that of Indonesia where she spent four years, and of the Bunraku theater of Japan. She has a like-minded set designer and long-time collaborator in George Tsypin, who has adorned the stage with gigantic, mirror-lined triangles, circles, and squares that are moved about like a kaleidoscope. They are geometric symbols found both in Masonry and Tantric Buddhism.
In addition there are illuminated translucent pyramids, columns, stairs and other architectural elements on stage that call to mind the allusions to ancient Egypt implicit in Sarastro's brotherhood. There is so much to see, so much movement to take in, that the singing of an outstanding cast, some of them dwarfed by puppet versions of themselves, seems more like background music to a Disney cartoon production despite the dogged efforts of conductor James Levine.
AdvertisementThe lyric tenor Matthew Polenzani, clad in a Kabuki-like costume and made up in white face, gives a brilliant vocal accounting of Tamino as expected from one of the Met's bright, young stars, and Rodion Pogossov's nimble performance as Papageno is impressive for its acute musical timing and dramatic verve. Dorothea Roschmann gives rich dimension to her performance as Pamina.
The production also has two notable Met debuts. The Korean bass Kwangchul Youn as Sarastro displayed a stentorian vocal instrument of surprising subtlety, and Slovak soprano L'ubica Vargicova displays a coloratura in the killing role of Queen of the Night that is thrilling in its brightness and remarkable for its accuracy.
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Superb singing extended to an abridged English-language production of Taymor’s creation. I witnessed another Met debut on January 1st by Ying Huang as Pamina. Possessing a lovely voice, Huang gracefully delivered carefully modulated lines. Her voice seemed well matched to the Tamino for this performance, sung by Matthew Polenzani. Erika Miklósa as the Queen of the Night delivered a spine-tingling performance; the audience’s appreciation was clear during her curtain call. She has sung this role in productions at Covent Garden, Bastille Opera, Vienna State Opera, and others, and has clearly perfected the difficult coloratura passages.
It explains how different cultures have revered the moon as a symbol of femininity, creativity, and power. This rich background sets the stage for understanding the potential that lies within harnessing the moon's energy. The book then delves into the different phases of the moon and how they can be utilized for different purposes. It explains how the new moon is a time for setting intentions and planting seeds for the future. The waxing moon is a time for growth, while the full moon is a time for manifestation and release. Finally, the waning moon is a time for reflection and letting go of what no longer serves us. Throughout the book, there are practical tips, rituals, and exercises that readers can incorporate into their daily lives. These range from simple practices like journaling and meditation to more elaborate rituals involving crystals, candles, and moon water. The book emphasizes the importance of aligning our intentions with the moon's energy and creating a sacred space for our rituals. One of the key takeaways from "The Moon Book" is the idea that we are all interconnected with the natural world, including the moon. By learning to attune ourselves to the moon's cycles and rhythms, we can tap into its innate power and wisdom. This can lead to increased self-awareness, emotional healing, and personal transformation. In conclusion, "The Moon Book: Lunar Magic to Change Your Life" is a valuable resource for anyone interested in exploring the mystical and transformative power of the moon. With its blend of historical context, practical tips, and rituals, it provides readers with a comprehensive guide for harnessing the moon's energy for personal growth and positive change. Whether one is a beginner or a seasoned practitioner, this book offers something for everyone seeking to enhance their connection to the moon and unlock their inner potential..
Reviews for "Lunar Manifestation: How to Use the Moon to Change Your Life"
1. Sarah - 1 star
I found "The Moon Book: Lunar Magic to Change Your Life" to be extremely disappointing. The author promises to provide insights and techniques to harness the power of the moon, but falls short on delivering any useful information. The book is filled with vague and esoteric explanations that are difficult to understand and apply in real life. Additionally, there are no practical exercises or step-by-step instructions provided, making it nearly impossible to actually implement any of the author's suggestions. Overall, I believe this book is a waste of time and money, and I would not recommend it to anyone seeking genuine guidance on lunar magic.
2. Thomas - 2 stars
I had high hopes for "The Moon Book: Lunar Magic to Change Your Life," but unfortunately, it didn't live up to my expectations. While the concept of harnessing the power of the moon sounded intriguing, the book failed to provide any substantial information or practical advice. The author seemed more focused on sharing personal anecdotes and philosophical musings rather than offering concrete techniques or exercises. Moreover, the book lacked organization and structure, making it difficult to follow along and understand the author's intended message. Overall, I was left feeling unsatisfied and underwhelmed by this book.
3. Emily - 2 stars
"The Moon Book: Lunar Magic to Change Your Life" was a disappointment for me. Instead of presenting well-researched information and practical tips, the author relied heavily on their own personal beliefs and experiences without much substance. The book lacked depth and failed to provide any actionable steps to utilize the moon's energy effectively. It felt more like a collection of random thoughts and new age ideas rather than a cohesive guidebook on lunar magic. I wouldn't recommend this book to anyone serious about exploring lunar magic and its potential impact on their lives.