La Voce
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.