How to Appreciate Opera ~ Where to Start? ~ Part III

Opera is grand theater. An opera is a story that is set to classical music. The opera plays out in musical form some challenge to the life of one or several characters. We watch as the characters try to work out the complexity that is all human relationships. The setting may be in a mythical land, palace, courtyard or kitchen. This is storytelling in the most elaborate form. At its core, a well-staged, costumed, sung and composed opera is a reflection of our hopes, dreams and desires on the theatrical stage. The fascination with opera can be the lure of the social experience that pleases so many senses in a beautiful way.

This article is written for the person how takes an interest and is confounded on how to begin to appreciate this art. Given the complexity of languages, availability and numerous compositions, where does one start? How do you pick the first opera to watch? Earlier articles focused on some basic lingo and explanation of what was happening. The dramatic tenor vocal style of Piero Barone was illustrated along with a video clip of a performance of “No Puede Ser” to demonstrate what that looks and sounds like. A libretto and aria were explained accompanied with video clips from “Lucio Silla” by Wolfgang Amadeus Mozart. The combination of short text, libretto and video hopefully, informed the reader about the aria. Opera is complex and there is a great deal of lingo to digest.

But, the reader may not want to fuss about at this time with short discussions and illustrations of aspects of opera. It may be time to try one out and just wing the lingo. Does it really matter at this time, who is the vocal artist? Everyone finds their own way into opera but selection of one particular artist to explore, may be a way in. If the voice of Placido Domingo, Leontyne Price or Maria Callas, is enjoyable to you, it will be an encouragement to listen. If the reader has access to this blog, than they also have access to You Tube. I highly recommend watching and listening to sections of operas at first to get used to this art form.

Also, the reader needs to realize that opera is performed live. Considering the length of some operas and complexity of story, it is to be appreciated how good the artists are. An opera singer must have excellent vocal skills and breath control, be able to project without a microphone, remember the different numbers in each opera, act out the role and be part of the ensemble. There is a lot happening at once on the stage. The person who can perform at this level is indeed to be admired and applauded.

cinderella2_storyDébut by Rossini – La Cenerentola

My recommendation for a first opera would be: La Cenerentola or Cinderella. The music was composed by Gioachino Rossini. The libretto was written by Jacopo Ferretti. The opera is based on the French fairytale of Cendrillion by Charles Perrault. The premier performance was in Rome at Teatro Valle on January 25, 1817. This opera is generally quite popular and there are several excellent recordings available.

The opera of La Cenerentola follows the familiar story of Cinderella. In Italian, Cenerentola translates as nobody or a stray dog. Instead of a glass slipper, we have a matched pair of bracelets. The fairy godmother is now a wise mysterious tutor to the Prince named Alidoro. The stepmother becomes the buffoon Don Magnifico. The story is set at the home of Don Magnifico, in the household are his two daughters and step daughter, Angelina. Angelina is the put upon waif longing for love. Prince Ramiro arrives in the disguise of a groom. The valet Dandini takes on the role of the Prince and moves about freely getting to know the Don Magnifico household. The Prince wants to be able to get to know the ladies as an ordinary person so as to better discern sincerity from opportunity. He must marry to keep his place in society but wants to marry happily and not only out of duty. The story unfolds with the daughters competing for the Prince’s attention. Don Magnifico shamelessly pushes the daughters at the Prince. Angelina is noticed by both the Prince and Dandini. The Prince and Angelina fall in love at sight. The opera works on the challenge, how to get these two together. In the end, they are united and as the fairy tale says, lived happily ever after.

Dandini and Don Magnifico
One of the most delightful characters is Dandini. He is a classic opera character. He is a servant in an elevated position within a wealthy household. He is dependent upon his wits and ways to maintain discretion in his position as valet to the Prince. He is privy to much and while not a “friend” in affection, he is a friend to the Prince in his freedom to mix and move in society where the Prince cannot. He is a trusted servant. The character of Dandini appears often in the genre of dramma giocoso or a playful drama. Or more often in opera buffa or opera for the common person.

Prince Ramiro and Dandini switch roles, another common occurrence in operas. Often players are masked or in disguise in order to better assess a situation without the encumbrance of rank. People behave differently dependent upon who they think you are. This is basic human nature. Here is a link to this moment with the entire cast. The Prince and Dandini appear as their true selves and let everyone know about the ruse. Here is a fine example of Rossini interweaving all the cast together.

Perhaps because I knew the story of the Prince and Cinderella, I took less interest in their experience than that of Dandini and Don Magnifico. Or, it could be that the characters appealed to me as something new and were a bit of a mystery. The performances were captivating and well-acted. IMHO, I thought they stole the show. The role of Cinderella as written and sung was a bit too innocent to be believed at times. Angelina goes about her sad day singing about being saved by a King. She is all innocence and goodness. She escapes into this fantasy world to tolerate the drudgery of her existence. It’s a sad life.
There is nothing innocent about Dandini or Don Magnifico. Each survives on their wits and morals or lack thereof. They are experienced men of the world able to understand the roles they play in society yet are always willing to push the boundaries. They have confidence in a positive outcome and will work with what is given to achieve their goals. In other words, I found them highly likeable and their characters more appealing than Cinderella. The interactions of the two during the opera were funny. I had the impression they could both walk away from their current situation without a look back. They know how to blend into circumstances and make the best of it.

Music ~ Aria, Duet, Ensemble

This opera is very well composed. The music is fine, but it is more the presentation of the arias, duets, etc… That made it a satisfying experience. Rossini put to music the libretto (story) and composed all the vocals for the performers. He cleverly weaves arias (solo) into duets (two singers), into ensembles (many singers). He goes back and forth in this manner so that the effect is one long gorgeous song no matter how many people are on stage or who is singing. There is no “star” of the show, it’s an ensemble performance. The opera moves forward, unrushed in a most natural manner. Some composers can lose something in the transitions from aria back to recitative, to duet, etc… But Rossini does not. Once in a while, when the composer wants us to be aware of a transition of time in the story or place, as in the hours of night tick into dawn, or moving to the palace, he does pause with the set empty and only the music moving the story forward. This is skillful and at moments is brilliant to watch.61ZYa+lcnvL._SX300_

Readers can watch the YouTube posting of the entire opera by clicking on this link. Or, readers may purchase one of the following recommended DVDs. Or, readers may utilize their local library and ask the librarian to search the catalog and find for loan.

La Cenerentola: Rossini
Decca 1996 Houston Symphony
Bartoli, Dara, Gimenez, Corbelli, Pertusi
Director: Christoph Eschenbach

La Cenerentola: Rossini
Deutsche Grammophon 2006
Von Stade, Araiza, Desderi
Conductor Claudio Abbado
Director: Jean-Pierre Ponnelle

Opera! Here We Go! How to Appreciate and Listen to Opera ~ Part II

The Aria Continued

This is the second of a series of articles about how to listen to and appreciate opera. For whatever reason, the interest to appreciate opera comes and so what to do? How can the average person gain entry into this fine art. I have been a casual listener of classical and operatic music for some time. Only in the last year have I taken a light interest into a fun and exciting hobby. I have used the available resources to find a way into this grand theater and hope to take a few readers along with me. This article will describe an aria in finer detail and provide a few samples for the reader to listen to. Hopefully, the beauty and delight I have found will encourage the curious beginner to explore. Opera at its core is story telling expressed through the fine arts of music and vocal artistry. Opera is the human experience of emotions, desires and dreams.

The reader can set aside the notion of needing to understand the language in which the opera is sung. The idea is to appreciate beautiful music, staging, costumes, vocal artistry and good acting. Opera is a fine art. Opera tells a complex story. The stories can be melodramas, light comedies or mythological tales. The stories reflect the complexity of a situation in life. The characters are being challenged in some way in the course of their lives. We are watching them work out the challenge. An opera is so written as to be a work of art and transport the viewer out of the ordinary and into a living artistic experience. There are plenty of fans who understand the basic story and appreciate the subtitles provided at the theater or on the DVD. But, many simply want to be swept into the sensory experience of opera.

The first article introduced and explained some opera lingo including an aria, a dramatic tenor and an operatic style called: zarzuela. Several means by which to view opera where included such as rental of DVD’s from the public library, attending a simulcast of a Metropolitan Opera broadcast at a local theater or watching Great Performances on PBS Television. I enjoy listening to CD’s of a complete opera during my commute time. The stereo system in my car is quite good and, I have a period ranging from 15 to 60 minutes of listening time. I also have several CD’s of opera arias by my favorite artist to enjoy. Many CD’s can be acquired through a wide variety of resources such as Amazon, Sales at Public Libraries or local Used CD retailers. A tip on buying CD’s, always look for the boxed set to ensure you get the full opera with libretto. The reading material is quite instructive and entertaining.

Aria ~ Air

An aria is a solo number within an opera performed by the vocal artist. An aria is created to showcase the vocal range and beauty of the voice. An aria can be a soliloquy. And, sometimes be a showstopper; a moment of great wonder to see and hear. An aria is center stage for the solo vocal artist and her/his moment to tell their story. There will be several arias throughout an opera and the principal characters in the story will have several opportunities to perform.

An aria can also be thought of as the solo portion in a concerto. A concerto is a musical composition for a single instrument such as piano, violin or cello and accompanied by an orchestra. A concerto is a dance between the orchestra and the solo instrument. The overall goal of an instrument aria is to celebrate the star of the show. The star being the piano, violin, cello, etc… Depending on the composition, the orchestra can at times appear to be competing with the soloist. That is up to the discretion of the composer and like anything of beauty, in the eye of the beholder.

Like all art, it is subject to personal preference. Opera singers have a variety of different vocal styles and ranges. By listening to a wide variety of opera arias by different singers, one day the listener will discover their favorite or favorites. Once the preferred voice is heard, it makes it much more fun to listen to different operas and start to appreciate this art. The listener will know when they hear what delights their ears.

An aria is as good as the musical composition, libretto and performance. Depending on the skill of the composer, the music that is heard before, during and after the artists performance of the aria can enhance or restrict an otherwise beautiful moment. The singer has the task of conveying the emotional characteristics of the libretto and the character they are portraying. The best opera singers are also good actors. The musical instruments should not compete with the singer as in a concerto, they support the performance and move the story forward. All eyes and ears are on the singer.

One important note for the newbie; the opera stage does not have a microphone. The audience is relying on the ability of the theater and artists to project the sounds of their instruments and voices out. Opera singers must be able to sing with clarity and power. The orchestra and vocal artists must work together to not overwhelm one or the other. The conductor’s job is to steer everybody into a perfect combination of the two.

Libretto ~ Little Book

Libretto in Italian literally means little book. It is the dry text of the story around which the opera is Lucio_Silla_-_libretocomposed. The libretto is written more often than not by a separate person but can be in collaboration with the musical composer. It can be that a libretto was written well before the composer was born and is the basic source material for the opera. The composer’s task is to take the libretto and set the whole story to music. The composer creates the arias and tells the vocal artist where and how to sing the words. Some librettos are bits of poetry and help the story be a more enjoyable experience. It’s quite remarkable how a composer can take a relatively short piece at times and create a work of art.

Aria ~ “Il tenero momento”

Here is an example of a short libretto, but in the right hands, what it can become.

No. 2 Aria – Cecilio “Il tenero momento” 8:06 minutes
The tender moment,
Reward of love so great,
Already fills my heart
With sweet thoughts.
And how shall that joy be,
Which awaits me at her side,
When the very thought alone
So entices my rapture?
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LUCIO SILLA: Opera seria in three acts
Music by Wolfgang Amadeus Mozart
Libretto by Giovanni de Gamerra
Premiere Performance 26 December 1772, Milan (Teatro Regio Ducal)

Cast
LUCIO SILLA, dictator (Tenor)
GIUNIA, daughter of Gaius Marius and betrothed to Cecilio (Soprano)
CECILIO, banished senator (Soprano)
LUCIO CINNA, Roman patrician, friend of Cecilio and secret opponent of Lucio Silla (Soprano)
CELIA, sister to Silla (Soprano)
AUFIDIO, tribune and friend of Silla (Tenor)
Time: During the dictatorship of Lucius Cornelius Sulla (138-78 BC) Rome

________________________________________
FYI – The role of Cecilio is played by a woman. In the time it was staged, Cecilio would have been sung by a Castrato. In modern times, the role often goes to a mezzosoprano or contralto (vocal style).

This is a young Mozart at his finest. The music is as important an element to this aria as the voice. The music sets the melody, energy and emotion of this aria. This is beautifully composed and sung. Mozart has a signature style of presenting emotions and situations in a subtle but expressive manner. When in high, loving spirits, Mozart arias are like listening to champagne. The sense of feeling the emotion can be felt in the body and heart. This aria is an expression of great love and commitment between two soulmates. Cecilio and Giunia are betrothed and devoted to one another in this and the next life.

Mozart is often considered to be one of the finest, if not the finest composer of classical music and operas. In this aria, I often think that the music could stand alone and be enjoyed without the vocal. However, the combination is what defines Mozart and his greatness. He skillfully “frames” the voice with the music and creates a buoyant, full bodied aria.

The singer is Cecilia Bartoli, a mezzosoprano noted for her fine pitch. Ms. Bartoli is adept at matching her vocals to that of the instruments played. Both support and enhance the other. In my limited and humble opinion, this is fine art. This is the moment I fell in love with opera. This opera turned me from a casual listener to a dedicated aficionado.

Accompanied Recitative & Aria No 9

Here is a second aria with some of the Accompanied Recitative leading to the aria. Accompanied Recitative is the text of the story orchestrated. Recitative is the story sometimes merely spoken to the audience or as in this example, sung. This tells the audience what is happening at this moment in the story.
________________________________________

Accompanied Recitative & Aria No 9 – 6:17 minutes

CECILIO
O Giunia! … Oh that name! …
The very thought, my friend, that I might lose her,
Quells any surge of my wrath.

But hasten, fly at my side, slay the tyrant …
Ye gods, and now my wife is delivered up
To my enemy, alas! … Who defends her?
And what if he should come his way? … Dear God!
How harsh the contrast,
What grief, immortal gods! Fear, trouble,
Anger, hope, all these I feel within my breast,
And know not which feeling will triumph!
What thoughts are these? And am I still not resolved?
Let Giunia be saved, or at her side I will die.

No. 9 – Aria

CECILIO
This fateful trembling
Growing and growing in my breast,
I know not whether it be hope,
I know not whether it be wrath.

Yet, whether in its inward feeling
Or in its outward wrath
It be madness or hope,
It shall strike terror in the traitor’s heart.
________________________________________

Aria Sung by Julia Varady

This entire sequence listened to shows the depth of emotion an aria can convey. Cecilio is an enemy to Lucio Silla, the reigning Roman Emperor. Giunia thought Silla had killed Cecilio. Silla routinely destroyed all competition to power including his Senate of which Cecilio is a member. Silla killed Giunia’s father. Silla is infatuated with Giunia and wants her as a bride. Giunia refuses Silla. Cecilio is outraged at Silla for these actions against his beloved.

This aria is a soliloquy. The music is as an important component as the vocals. Here, Mozart shows his skill in sweeping us forward in the story, controlling and steering the emotions with the music. The notes set the emotions and stage the vocals. The intertwining of instruments and voice display Mozart’s genius. These two arias represent only a small portion of this opera. There are duets and choral numbers as outstanding and moving as these two arias.

When learning a new art form or language, it is best to take it in short amounts. I am hopeful that the reader clicked on the links to the arias and enjoyed the experience. Thank you for reading this article.

To be continued………………….

Recommended Read:

The New York Times Essential Library: Opera: A Critic’s Guide to the 100 Most Important Works and the Best Recordings By Anthony Tommasini, Publisher: New York Times 2004 ISBN-13: 978-0805074598

This book is an excellent guide to the person who is new to opera. The author provides a brief synopsis of the opera as well as anecdotal information about his preferred performances. He includes recommended CD’s to include in the home library. The author also provides an essay on the composers listed. He includes a top twenty list of must-have operas.

Opera! Oh Please! Or, How to Step into Grand Theater

How to Appreciate and Listen to Opera

Perhaps it’s a moment tuning the radio dial and there it comes, an exciting flurry of classical music and voice in a language that is not quite clear. Or, in the memory of a grandparent who played an Enrico Caruso album on Sunday afternoons. An old curiosity lost through the years given to education, labor, parenting and aging. For whatever reason, the interest to appreciate opera comes and so what to do? How can the average person gain entry into this fine art. It can be done, with a few suggestions from an opera novice, it can be done. I started my intensive journey into opera several months ago and am excited to encourage others to give it a try. To make this an inviting experience to the newbie, instead of lines of dry text, I will post a short operatic piece and hopefully, describe in language using the lingo of opera, what is being heard and what is happening. As in the study of a new language, it is best done in short sessions. This is the first of several articles to be presented here. Hopefully, the beauty and delight I have found will encourage the curious beginner to explore. Opera at its core is story telling expressed through the fine arts of music and song. Opera is the human experience of emotions, desires and dreams.

My background in classical music is that of a concentrated listener. I did take piano lessons for several years but put no claim to being a pianist. From an early age, I listened to classical music, particularly Frédéric Chopin. His nocturnes and concertos were often heard in the home to honor his and our Polish heritage. When I was a teenager I gained an appreciation of Beethoven’s Symphony No 5 during a summer vacation. My family rented a home in Vermont for a week. The house came with a stereo system and several classical music albums. Curious to hear an entire symphony, I played this every evening fascinated by the energy and beauty of it. Years later, I acquired a cassette tape of Operatic Arias by Placido Domingo. On Friday afternoons, I enjoyed turning up the volume every time. Maestro Domingo’s voice has a lifting quality. Domingo sings with passion and that energy connected in me. The interest was long there and these moments stand out in memory among many.

Foreign Language Skills Not Required

The reader may be relieved to know it is not necessary to have one word of a foreign language to understand the story. Opera performers must have a fine voice for singing and capable acting skills. The singer often exaggerates the language it is in. The composer has crafted the music and the voice to present and give the audience the opportunity to hear an expression of optimum beauty. The goal of an opera, is to move you emotionally. Much of acting is body language and facial expression. A good opera performer combines these theatrical arts. However, the beauty of opera is a combination of the story (libretto), stage setting, costume, voice, instruments, theater and the musical composition.

An opera is grand theater. I say with some comfort that a fairly large amount of the audience attending any opera may not speak the language in which it is sung. However, having an ear that is accustomed to hearing foreign languages will be helpful. I was raised in a culturally diverse city in Massachusetts. The neighborhoods were defined by culture and language. Riding the city bus through the city, block by block the languages changed from Spanish to Greek to Lebanese, etc…I was raised in a household where Polish was spoken with regularity. I have studied Polish, French, Spanish, Japanese and lately Italian languages. I am not fluent in any but get by best in conversational Italian. My major in college was International Studies. The exposure to different cultures is something I embrace and enjoy. Opera is an opportunity to explore different cultures as entertainment.

Opportunity to View

One way to access quality opera recordings may be through the local public library. There are a number of DVD’s of popular operas for loan available with English subtitles.

The Metropolitan Opera at Lincoln Center in New York City simulcasts performances to local theaters. This is an excellent way to attend. The performance will have a host to explain the history of this opera along with a brief synopsis. The opera will have English subtitles on the screen. The Met is meticulous in costume and stage detail.

You Tube has numerous performances from single arias to a complete opera.

PBS Television airs a program titled: Great Performances. Viewers can check their local listings for the weekly showing. The program aired this week has: Le Nozze di Figaro (The Marriage of Figaro) by Mozart. This is one of the most famous operas ever performed and one every opera fan will hopefully enjoy knowing well.

Baptism by Barone

The opera bug had been inside me for years but in a state of dormancy. The curiosity and desire to know this fine art has been reborn in the person of Piero Barone.BBB The name alone is quite poetic and conjures up an image of a romantic Italian singer. Piero is a member of the trio of singers from Italy named IL Volo. In September of 2013, I attended an IL Volo concert in Boston, MA. I became a fan after viewing a performance on PBS Television. I was impressed by the quality of their voices and the natural charm beaming through the camera. The group has as members also Ignazio Boschetto and Gianluca Ginoble. They sing a wide range of music and are interpretive artists. The range of musical presentations includes classics from Broadway, cinema and pop. They also perform classic Italian favorites as well as an occasional operatic piece. The trio include a light baritone, lyric tenor and a dramatic tenor. The group sings each song in a unique style with each singer performing a solo verse but ensemble in the chorus. The effect to the listener is a harmonic vocal sound. Each singer amplifies the other and it becomes a true trio of voices. The musical scores have been well fitted to their voices and well carry the positive momentum of the song. They fulfill one of the key requirements of performers, they are able to raise emotion with their songs. Through their interpretation they allow the listener to feel these emotions in a raw state. A listener can easily become mesmerized by the harmonics and emotions opening their own capacity to resonate in artistry and touch their own tender transformation. Here is an example of their artistry as presented at the Latin Billboard Awards 2013 “El Triste” (The Sad One”) written by Roberto Cantoral.

Opera Lingo ~ Dramatic Tenor

Piero’s vocal skills and range are that of a dramatic tenor. A dramatic tenor has a powerful voice that will ring around the theater. His voice is commanding and raises emotion with a rich, timbre. He has superb stamina and breath control. During an IL Volo concert, each performer does have a solo number. It was Piero’s performance of “No Puede Ser” that brought back the interest in operatic music. I was so taken by the show in Boston, MA that I traveled to another show later that month in Stamford, CT. There again, he delivered an even more spectacular performance. His breath control and power were impressive. That sensation of being overwhelmed by his emotion, the sound of his voice and energy it raised all at once pinned me to my chair. I was literally in the song. At that moment, I experienced the profound joy of music. Here is a performance recorded in Westbury NY.

Lyrics in Spanish

No puede ser! Esa mujer es buena.
No puede ser una mujer malvada!
En su mirar, como una luz singular,
he visto que esa mujer es una desventurada.

No puede ser una vulgar sirena
que envenenó las horas de mi vida.
¡No puede ser! Porque la vi rezar,
porque la vi querer,
porque la vi llorar.

Los ojos que lloran no saben mentir;
las malas mujeres no miran así.
Temblando en sus ojos dos lágrimas vi
y a mí me ilusiona que tiemblen por mí,
que tiemblen por mí.

Viva luz de mi ilusión,
sé piadosa con mi amor,
porque no sé fingir,
porque no sé callar,
porque no sé vivir.

Lyrics in English

It cannot be so
It cannot be so! This woman is good.
She cannot be a wicked woman!
In her look, like a strange light,
I’ve seen that this woman is unhappy.

She cannot be a cheap siren
who poisoned every moment of my life.
It cannot be so! Because I’ve seen her pray,
because I’ve seen her love,
because I’ve seen her cry!

Those eyes that cry don’t know how to lie.
Bad women do not look like that.
Gleaming in her eyes I saw two tears,
and my hope is they may gleam for me,
they may gleam for me.

Vivid light of my hopes
Be merciful with my love
Because I cannot pretend,
because I cannot be silent,
because I cannot live!

The musical composition accompanies and keys the listener to the sway of emotions the singer is conveying. This libretto is well written and clearly speaks to the conflicted state of the character. Not all librettos are equal and the success of the aria is on the shoulders of the composer and the singer. This is a melodramatic aria. He is at once in denial, in need of hope, conflicted, in desire and clearly lost in his own emotional state.

Piero holds himself in the stance of a classical singer. This video is fascinating to watch as it shows the skillfulness of allowing passion to rise. Piero has a habit of flushing toward the end of the song. This signals his complete immersion in the artistry. He is momentarily swept away by the words and dramatic emotions on display. His body language tells the story of something at once confusing and tragic that is about to happen. This display of artistry allows the audience to become swept away by the power of emotions as well. This is the goal, to be taken by the moment into another emotional state.

Opera Lingo ~ Aria

He is singing an aria. Aria is an Italian word for air, but in this context refers to song. An Air is a solo performance by a singer or an instrument. The aria, “No Puede Ser” (“It Cannot Be”) is from the zarzuela: “La tabernera del Puerto”. The composer was Pablo Sorozábal of Spain. (1897-1988). The libretto was written by Federico Romero and Guillermo Fernández-Shaw. The premier performance was in Barcelona 1936. There are many types of operas of which this is one example of a traditional Spanish musical play. Zarzuela is, known as “género chico” (= little gender), a pocket opera, with traditional subjects and music with folkloric roots. This is a dramatic piece that alternates between spoken dialogs, song and dance.

The aria is one part of the opera. An aria is only as good as the musical composition. The composer takes the words from the libretto and creates the musical score. The libretto is Italian for little book. It is the words of the opera on paper. Occasionally, a composer is so talented that he will write his own libretto. More often, the composer collaborates with the person writing the libretto. The composer takes the words and creates a musical presentation. The composer scores the piece so the singer knows where and when and what to emphasize via the musical notes. The singer conveys through the aria the meaning of the words in context of the opera. The singer gives “life” to the aria. The words are often repeated in several different ways so as to give drama to the aria and showcase the vocal talents. Opera at its core is story telling expressed through the fine arts of music and song. Opera is the human experience of emotions, desires and dreams.

To be continued……………………..

@2015FrancesAnnWy