![]() All else that is born via this content is portrayed and expressly developed through the music leading to what is most important and worthy – the emotional state.įor example, in G. And yet, this same aria might consist of one or two sentences, which allows for only the core ideas of content to be transmitted. In classical opera, a full aria may sound from 3 to 6 minutes. In themselves, the words become secondary. For the most part, the audience participates in what is going on, on stage not through “the word”, which is sung on stage, but through the emotions evoked by the music. “Rational words” lay the foundation for the melodies, harmonies, vocal and instrumental colours, rhythm, tempi, that develop and guide us, the listener to the highest of expressions and emotional states. Music ensure that the emotions evoked by words can be developed, deepened and, what is most important for humans, given the opportunity to be sustained in this state, over a certain period of time. And, it is this that the audience subconsciously awaits and yearns for in an opera. It is only when “ the rational words” are supported by the full spectre of sounds that the listener is transposed into a completely different state of emotional heights than that, which can be provided by “the word” alone. But, “the word” by itself is incapable of elevating the audience to a level of emotional euphoria. “The word” in opera can describe the situation and provoke certain emotional states in the listener. ![]() ![]() But, opera audiences, participating in an opera experience, want, nay, need to engage with more that just “the word”. And so it is with opera, where it is “the word”, which carries the meaningful information, develops the story line and creates the necessary dramatic intrigue. In the Holy Scriptures is is said that: “in the beginning was the Word”. By this, I mean the unique emotional state experienced by audiences of this genre, which has allowed opera to remain in the forefront of human culture for more than four centuries. Since an academic definition of “opera” can be found in any encyclopedia or dictionary, I would like to comment not on the formal characteristics of this genre or its historical development, but on what can be labeled as the “ opera phenomenon”. ![]()
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