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The Arts in New York City » 2007» November

Archive for November, 2007

Opera Review (continued)

Wednesday, November 28th, 2007

… Louis Mergler

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Opera Review

Wednesday, November 28th, 2007

I found the opera, Le Nozze di Figaro, to be a very entertaining and well-created performance. As a newcomer to the art of opera, I entered the Metropolitan Opera House with a clear and open mind. I must admit, at first I felt pessimistic toward opera as an art form. Seeing it for myself quickly changed my perspective. The elaborate sets, costumes, and lighting created a very natural and effective backdrop for the performance. Coupled with the structure of the opera house, these aspects created a realistic and cinematic effect that helped to set varying and specific moods. The musicians in the pit performed effortlessly and sublimely, providing flow to the performance and instilling emotion in the audience. The performers themselves were of the finest character. They demonstrated their ability to project and maintain crystal-clear tones through their voices, varying their range and inflecting their singing with various techniques. The performers excelled in their movements as well. Through gestures and singing, the performers were able to convey and communicate the emotions of their characters very effectively. My experience at the Metropolitan Opera House has opened my eyes to the art form of opera and its very elaborate and extensive production process. Every aspect of the opera, from the singing to the music to the lighting, must be perfected in an effort to create a masterpiece. Le Nozze di Figaro was just that.

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Le Nozze de Figaro

Wednesday, November 28th, 2007

I completely agree with the thought that one does not need to understand each and every word expressed in opera to appreciate it. In many points in the performance I would forget to look at the subtitles because the common themes of trust, love, jealousy are relatable to all. I don’t feel that opera in itself achieves this but the plot itself is key. Opera just adds a wonderful element of expression through song. I say its wonderful because the singer uses her voice to turn regular everyday conversation into art. When Susanna & the Contessa Almaviva sang their distress about their husbands, they seemed to be pulling out their sorrow into their voice and pouring it in the audience so much so that at some parts I became so angry at the Count.

The setting itself was also a work of art, in terms of the stage and the lighting. I especially admired the last two scenes were there was no intermission to change sets, and so a rotating device was used. The lighting was also realistic. It did not change from sunny to pitch black but the light was at a “mid afternoon” intensity and then slowly became midnight blue with the impression of the moon shining through.

All of these aspects resulted in a great performance but it became spectacular to me because of the live orchestra. They had to play continuously and in sync with the performers but remained virtually anonymous. This may seem impossible at first because the human voice when agitated can reach extreme speeds and intensities. Yet, the musicians matched those speeds and intensities with accuracy and I found that very impressive. They too aided in conveying the ideas behind the plot, but in a subtle manner so that they would not overshadow the opera singers. The musicians served as the finishing touch to a very outstanding performance that left me with a positive first impression of opera.

~Amanda Ojie

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English vs. Original Language

Wednesday, November 28th, 2007

As it was for many of us, this opera was the first we were exposed to and I truthfully was not expecting the great caliber of acting and singing that The Marriage of Figaro presented. Upon entering the Met, I was very enthusiastic to see my first opera but in the back of my mind I kept worrying about the difficulty that I would have with understanding the plot itself. Unfortunately, my worries were the cause of my discomfort throughout much of the opera. Personally, I had trouble with the whole conundrum of reading the text then averting my eyes to the stage. I felt that since I wasn’t understanding a word the characters said that I couldn’t help but read the text which cost me the valuable time that I could’ve spent focusing solely on the actions, and I kept going back and forth with focusing solely on either only the acting on-stage or the words themselves. This trouble with understanding the actions without having knowledge of what exactly was being said could be a direct result of my slight obsession to know everything that is being said because otherwise I feel lost when I do not know exactly who, or what is being discussed. For these reasons, I feel that opera is not entirely “like film, a ‘universal language’” because I think that for some people there is an equal importance in the text being said and the actions on-stage. When answering the question about opera delivering its message not only as a story-line, I would, without a doubt, have to agree because I did notice that much of the message between all of the characters was understood via their elaborate actions and nuances in voice that made the viewer all the more attune to these non-written clues. What impressed me off the bat was the extreme talent of the characters’ acting, especially that of the actress who played Cherubino. I honestly only slightly liked Cherubino’s character from reading the synopsis, but I ended up loving him throughout and by the end of the opera. My favorite moments included when Cherubino acted “forward” with the countess before he was being dressed up as a girl. I also greatly enjoyed his mannerisms and demeanor, which both reminded me so much of the average lover-boy type attitudes that young boys try to pull off. Also, I couldn’t help but giggle uncontrollably at how well the actress managed to portray this young lad who was always falling in love with any female he saw but who still carried around a torch for the beautiful Countess. In addition, I thought the scenery was incredibly well imagined and displayed because it offered a certain proper atmosphere for this opera that certainly appealed to many viewers. Moreover, the incredible singing voices of each character, especially that of Susanna and the Countess, really gave me chills because I have never been used to hearing such high vocals. I think that this is indeed evidence of the great control they must have, because if you think about it, the are raising their voices without outright yelling at all, and that to me was just an incredible aspect of this experience. To end, I learned a useful lesson from this experience, which is that my next opera would either definitely have to be in the English language, or I have to adjust my priorities and allow myself to focus on the beauty of the language being sung and the actions occurring on-stage rather than on solely the words themselves. Because I know that even though I was distracted by the text, I greatly enjoyed hearing the characters sing in a language other than English, which just made the whole experience even more authentic and intense for me.

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Wednesday, November 28th, 2007

opera.jpg

I have waited to post a response to the opera because I keep changing my mind. My initial reaction was one of displeasure. I felt immediately that the opera was too detached from the real world. I found the performance to be too long and drawn out and to be somehow fake. Yet the more I thought about opera and the performance we saw the more my views changed. In fact as time passed and I looked back on that night, my appreciation grew. Instead of focusing on the false quality of the singers and the plot, I became more and more willing to interpret the performance for what it was; opera.
The singers, their costumes, the set, the storyline; the experience required so many different labors of love. Although I had understood this in class, the many varied aspects of opera still delightfully surprised me. I was most impressed with the revolving set, which gave the performance an interesting and dynamic background. Yet what was most important was how all of these details came together to make the event incredibly eye pleasing. Watching the opera was rather like going to a carnival, full of color and sound.
Opera has in my mind, just as good a chance of surviving in the next generation as all other high arts. One could argue that no one will be going to the symphony in twenty years, yet from my experience I believe that people will be. Orchestral music, ballet and modern dance, and, of course, opera are all meant to be beautiful and enjoyable. For that reason, I will stick to my gut, and say that these spectacular performances will continue to shock and awe millions of audiences until, well, the end of civilization. ~H.P.D.

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La Voce

Wednesday, November 28th, 2007

I found Le Nozze Di Figaro extremely satisfying. The music was so well orchestrated that I found myself humming the songs afterward. The sets were creatively constructed, and fashioned an atmosphere that contributed greatly to the overall impression. The singing is what truly made this opera “high art.” The contrast of the mezzo-soprano voice of Cherubino with the strong soprano voice of Susanna was especially awe-inspiring. As a vocalist myself, it is those fine-tuned details that truly create a wonderful experience for me. The subtle interplay between similar but different voices and the harmony they produce create an unparalleled effect. The sung Italian language also added to the romantic feel of the opera, and I was glad that it was not in English. It forced us to pay much more attention to the body language of the singers, and, of course, the music they created.
Opera is a window into history, which I particularly enjoy, because it is, I believe, the most “real” representation of old culture. And just because we are creatures of the modern age does not mean that we cannot enjoy the sophistication of opera. Modernization often creates a quirky, creative product, but so many productions nowadays take such leaps, that the foundation needed is often lost in translation. I have seen many modern adaptations of plays, and have seen some in which the entire material of the play became lost amid revised lines, flashy costumes, and new settings. Opera, on the other hand, is our foundation. It is simplistic, appealing to the human response to music. And what better way to create a connection than through an instrument that everyone possesses: the voice. Along with that universality is the display of romance and passion that the singing voice begets. It is a display of virtuosity that is elite because of its power and ability. Opera singers do not amplify their voice through any means that are not of their own bodies. We were so far away, and yet we heard distinctly the notes produced. What we saw, effortless as it seemed, required endless hours of grueling training. Voices were pushed until throats were raw, and they still pushed on. To approach such high notes not only requires intensive vocal training, but an intuitive collaboration with the music. I know that many of you resent the idea of the “diva,” but she deserves such a title, and such praise. Opera is not like Broadway. Musicals require much less from the voice; if the singers are hitting the right notes, and are doing so with some semblance of emotion, the show is a success. Opera requires true manipulation of one’s own body. Every imperfection is heard when it is just the singer and the audience. Also, at the octave most of the singers were at, it is true refinement to be able to not mess up. Give them some recognition! So what if the audience was composed of elitists who care more for the social scene? You were not there to experience the inner workings of the social hierarchy of NYC, but to truly get a feel for the art of Opera.

 

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tomorrow’s class

Wednesday, November 28th, 2007

Dear students, 

I hope you have recovered from your Thanksgiving break and full of energy to embrace the last stretch of this fast moving first semester! 

Thank you to those of you who have posted a comment on opera. Meanwhile, if you have not done so, please do it before 1 pm tomorrow, so that we can have a full discussion in class.

I assume that a number of you are still working on a first version on the paper on dance, please bring it to class tomorrow.

We will have a combined session tomorrow, starting with a discussion of the opera, and then working on your final projects. By the end of the afternoon, I will need a proposal from each group or single presenter. It might be a good idea that you bring your laptop tomorrow, or at least one per group, in case you need to do some further research or in case you choose to watch a DVD to help you with your paper (this in case your proposal for the final project is ready and approved).

See you tomorrow then, in our “old” classroom Hunter North 1516.

          EE

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The Future of Opera

Tuesday, November 27th, 2007

I hate to bash any form of High Art, but if I am going to, it may as well be Opera. Le Nozze Di Figaro is one of the top rated operas around, I cannot argue with this for two reasons. For one, the show itself is entertaining. There were times when it was hard to stay conscious, but other than that,i would say it was a night well spent. The other reason is that i have not seen any other operas.

The actual operas themselves may be entertaining, but the way i see it, there is no future for the art form. It may be because of the affiliation that is made with opera. People think that it is impossible to enjoy opera unless you are an elderly, upper class, arrogant snob. From what I saw of the audience, this theory holds some stock. It is not the opera itself that brings these people in, it’s is the environment. You have the opportunity to dress up in a suit or gown and then pay $15 for a glass of Champagne. Some people just want to show off. Besides our class, I don’t think there were any people younger than 30 in the whole Opera House. A young person would not want to associated with this crowd. It is not only these people who are killing this art form, it is the entertainment industry as a whole. People these days are bombarded with ads for action packed movies and epic stories that are only two hours long. Why bother dressing up to see four hours of people singing in a language you don’t understand about their love lives?

I enjoyed the opera, but not the opera experience. For every beautiful and moving song, there was someone yelling “bravo” from our section, thinking that the performers could actually hear them. It’s the little things that are killing opera, not the art itself.

-Jacob

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Le Nozze di Figaro

Tuesday, November 27th, 2007

I have never been at an opera show before, and I have never even considered going, but I am glad that I had the opportunity to attend this event. I think that opera stars have an amazing talent. What struck me the most was their voices; they were beautiful and strong. It was amazing, and almost unbelievable, how they were clearly transmitted throughout the  ”room” without any amplification. The beauty and elegance of the stage and the costumes were very appealing. One of the themes in Le Nozze di Figaro is that true love conquers anything. Though, I also perceived themes of forgiveness, loyalty, and unfaithfulness. Obviously, Figaro and Susanna love each other deeply. The characters were able to show this feeling throughout the show. Their love overcame all the barriers and obstacles that tried to impede their marriage. Susanna and Figaro were loyal to each other no matter what, and the countess maintained her loyalty to the count knowing that he was unfaithful to her. It was very kind of her to forgive him and showed that her love was stronger than anything, but I do not think that he should have been forgiven.  My favorite characters were definitely  Cherubino and Figaro because they were comical. Actually, their sense of humor is what kept me awake. If it had not been for them, who were the characters that made me laugh, I would have not paid full attention and probably fallen asleep. (Personally, I respect and see the beauty of opera, but i would not go on my own. I would probably think about attending another show if the length of an  opera performance was shorter.)Overall, I had a great time. I loved the beauty and elegance of the performance. It was nice to listen to a different kind of music. I could see how the singers’ voices and the orchestra combined to make a great show, as well as the acting abilities of each of the characters.  Laura A. 

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Monday, November 26th, 2007

3)       Now that I have seen a live and full performance, I think I do enjoy opera. I expected to be bored or disappointed because I had heard from friends and peers that it wasn’t as exciting as they thought it would be. Our distance from the stage was not particularly ideal but from what was seen, I still did enjoy it.
Although not every word was interpreted, the storyline was easy to follow. Some phrases and ideas were dragged on for more than necessary but I found that was the only aspect I disliked. The message was delivered in a different way with the constant singing and the reactions of each actor.
The stage design was beautiful and definitely professional looking. I didn’t expect there to be such large scale settings with whole rooms completely designed. There was specific designed furniture for each room of the estate and there were small details such as jewelry or pots. These details allowed you to focus on the plot, deterring from the fact that the situation wasn’t really occurring. Besides this impressive set, the voices of the actors, especially of the countess, were impeccable. It amazed me how they could keep such high pitches and continuously sing for a long period of time. They were able to keep their voices unwavering even while acting. This is probably more difficult than just plain acting because they have to put such stress on their voices remembering not only lines, but the music and pitches as well. The music was also vital because it put more emphasis on the mood of the scenario. The plot was entertaining with the comedic twists in each scene. You wanted to know what would come next and how each character would react to their circumstances.
Some aspects of the plot were realistic to modern day and some were not. The aspects about marriage and losing the lust from the beginning of the relationship are always typical but the comedic route of deception and lies is not. The main thing I found almost frustrating was a delayed progression of the story because, at times, the plot would stay at one point, repeating what had just happened. The story didn’t have to last as long as it did as long as they got straight to the point and didn’t go in circles. For example, for the count to prolong the opening of his wife’s closet door. It wasn’t realistic and made me grow impatient. Other than that, I found that I enjoyed the extravagance of the entire thing with shimmering, lavish clothing, and the continuous, yet respectable singing and acting. The plot kept me entertained when it moved forward and I admired the actors that didn’t over or under stress their parts. I hope to see more dramatic and maybe less comedic operas in the future.
-Shaziya Ali

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