I will never say that I’ve finished consuming this. I learn something new every time I re-read it.

I wish I had more time to read this. I want to get back to it some day.

Update: I am reading it front-to-back now, and it’s as fantastic as I remembered.

The explanations are terrible. Neither rigorous nor intuitive. I sold the textbook immediately after the course concerned ended.

Starts out slow and unfunny but gets significantly better.

I need to re-read some parts.

This started out good, but I couldn’t get further in it because I had to return it to the owner.

Currently confused about Reichenbach’s demonstration of how to derive a spatial metric from an arbitrarily defined temporal metric.

The way Elvira falls for Don Giovanni again is ridiculous, in the light of her learning about his 1800 previous conquests. Allen is pretty charismatic but I cannot imagine anyone being charismatic enough to seduce a woman again after that. And it’s also pretty ridiculous that Elvira does not realise she’s fondling Leporello instead of Don Giovanni.

So metaphorical it became implausible at times. The plot, that is. For example, in the scene where Alfred and Rosalinde confess to Eisenstein (who is disguised as Blind), Eisenstein hides in the dark behind a spotlight, which he turns mercilessly on them. All very symbolic, but weakens one’s belief in the plausbility of the characters’ actions. In the finale, as he agrees to chaperone Adele, Orlofsky pulls of his (her) wig to reveal that he is actually female. This is not in the original libretto, and I cannot fathom what it’s supposed to mean. Finally, Rosalinde handcuffs herself to Eisenstein. Again, I can see how it’s intended to convey some deep metaphor, but I find the straightforward, playful resolution in the Kleiber/Bayerischen Staatsoper performance more convincing.

Much better than Colin Davis’ set with the Concergebouw. Jochum gets more of the humour out. The Symphony No. 88 sounds a bit too ‘efficient’ for me. Otherwise, this is the best set I’ve heard so far.