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Top Review
27
Out at the fair and the DIY market
"5000 Nights at the Opera" is the title of Sir Rudolf Bing's memoirs. Emigrated to Great Britain in 1933, Bing became co-founder and artistic director of the Glyndebourne Festival Opera the following year. From 1950 on he directed the fate of the Metropolitan Opera in New York for 22 years.
The latter had started off rather unroundly. Bing describes that his first preliminary experiences at the 'Met' had seemed like a lesson to him, how an opera house could not be better managed. Even if a certain vanity on the part of the retrospective may be assumed in such statements, many things will have been in trouble - at least from the perspective of an art lover from "Old Europe". Bing describes the depressing opening evening of the 1949/50 season. Not because of an unsuccessful performance, but because of the audience: "I had never experienced such behaviour in an opera house before, ... many of the viewers [went] year after year only this time to the opera - café society of the lowest quality, gossip columnists of the rainbow press, celebrity gossips and clowns who crave every publicity, for the sake of the newspapers and now also television about every grotesque event and every sensational phenomenon ... accurately reported."
With this fragrance, I experience a culture shock that may be comparable to a disappointing attitude of expectation. It's more 'Out at the Jahrmarkt and the Baumarkt' than 'at the Opera'. The prelude smells something like Cindy from Marzahn: A screaming sweet-pseudofloral cloud rises. It quickly loses its aroma and leaves behind a minimal floral candy floss sweetness that is especially fruity and wannabe. Pink cotton candy from the fair - the corresponding colour of the liquid may not be a coincidence. There's a sinus-tone wood underneath, saffron gives it something dull and musty. But the cotton candy outweighs the oud and I don't feel anything. Rose? So please!
Later in the morning, a penetrating sugary sweetness with a minimal alibi sweet aroma touches a lifeless, dull, musty chipboard like from a hardware store. Sounds suspiciously similar to the heel before? Exactly! This is only gradually garnished by a creamy attitude.
It must be noon before the fragrance type develops. A bright, fruity Sauber-Moschus note appears and now represents a binding element between the two markets (annual and construction). The candy kitsch is finally tamed. First and foremost, of course, there is a sweetish, discreet note of leather on the neck. Nevertheless, she immediately degrades the previous main actors, who in comparison seem almost caricatured, to extras, so striking is her lead in character. Now, however, it must be pointed out that we are in the relative range. I think the result is neat, that's all. And for me it continues to be clearly too sweet and too banal-synthetic.
In the early afternoon the leather anchor disappears again and the scent returns, although moschus-cream-softened, in the style of old vices: Laboratory approach floral sweetness on pressed wood base. Fortunately, the intensity is already noticeably decreasing in the sixth, seventh hour. At the end a fruit-floral dabbed musk of usual stamina remains.
With a little distance from the skin - this is not to be concealed - the fragrance makes a better impression because the wood synthetics are hardly noticeable. So: Don't get too close! Hm... Opera singers in action do not always look exclusively aesthetic when viewed from close up, as for example the pitiless close-ups of TV broadcasts show. Well, this explanation of the name is not satisfactory. Let's forget that.
Conclusion: I am very disappointed and would never have thought to have a nearly 200 euro fragrance in front of me. I apologize for one or two imprecisions or unfamiliar generalizations in my remarks, I simply had no desire for continuous smelling. It's crazy how some people love the scent here. How I grant you that!
I would like to thank 0815abc for the sample.
PS: I still have one attempt to explain. Apropos Cindy from Marzahn - Bing remembers a performance by Lauritz Melchior (an unsurpassed heroic tenor) as 'Tannhäuser' in 1939. He sang wonderfully, but looked "like a walking red plush sofa."
Hmm. Unlikely that Philly & Phill had exactly this image in mind. I give up.
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