The Opera vs. The Play

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While reading the opera version of the “Barber of Seville” I noticed that basically the plot of the play has remained the same from Beaumarchais’ original play. In both, the count is fighting for Rosine’s and is trying to gain her love using costumes and with the help of Figaro. Bartholo plans to carry out his marriage with Rosine, but in the end the count will win the fight for her love. However, there were some differences in the characters and the style of the opera as well. Obviously, as an opera, one difference is that the scenes are carried out in song as opposed to the characters reciting each of their lines. Also, there are a few differences between the play and the opera in terms of how the scenes for directed. For instance, in the play the Count bribes the notary to persuade him to sign the marriage document. However, in the opera the Count threatens him with a gun. In my eyes, this adds to the drama of the opera and makes it more intriguing.
The importance of Figaro’s character is a major difference between the opera and the play. In the opera Figaro had a larger role and seemed to be the single main character of the play. however, in the play itself you get a sense that Figaro is a supporting character and that the main focus of the play is on the count rather than himself. The audience can see the significance of Figaro’s character and how much he means to the play. In the opera Figaro sings more than in the play and is more animated.

C’mon! Give Them a Chance!

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Claudia La Rocco’s review of A Prize Every Time really gives the reader a chance to appreciate an art form that requires patience. Trios of choreographers are given a group to dance with during this four day event. She really make it clear that there is a level of difficulty to this performance and while it does take time for their to create a dance. It is well worth the wait. She utilizes language that is easy to understand and also relatable.

La Rocco does make it clear that not all of the performances were strong enough that it was worth waiting for. She includes a more than sufficient amount of dialogue and viewer response but she fails to describe in her own words what she got from the play. She mentions it is piece choreographed, but what is the piece about? Is there a central theme to the dances?

I seem to pick up more of a response to the performance, rather than some context and then some opinion on the dance. There is no doubt that these performers are talented. There is a picture of a woman in red heels, blue pants with a golden stripe running through, and a yellow skirt. She is standing on her hands, telling us she is quite athletic and fit, thus validating the fact that these performers do have a certain degree of professionalism and training. The thinning crowd reflect the audiences’ response to the show which most likely is abysmal.

Personally, I would watch this show because the picture sold it to me rather than her review. However, La Rocco does bring some important perspectives of the piece to light. Despite the viewers’ response, I am all for improv and would love to attend.

LEAVE FIGARO ALONE!

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In the play version of the Barber of Seville, the audience came to appreciate the struggle for love that Rosine and the Count face. Figaro’s role became fate’s role. He initiated every action that occurred next. He was the driving force behind all of the consequences. Figaro WAS fate.

The play emphasizes the romance between the couple and how inevitable their love was. Nothing could separate these lovers apart, least of all Bartholo. The comedic factor in this story was how ridiculously impossible the love between the Count and Rosine was. Their marriage was so sudden.

In the opera version of Barber of Seville, Figaro is the star. He is still the driving force behind the consequences and now he is also the main character. The opera showcases what Figaro really contributes to the story. Everyone always seeks out Figaro and demands something from him. Be it haircuts, shaves, wigs, or favors, Figaro can accomplish anything. The comedy in this opera is the frustration of being Figaro. Everyone is calling his name and requesting his assistance as a barber and as a courier. He is never left alone. I personally find it hilarious he’s “complaining” that everyone demands something from him and he needs to handle it “one at a time.”

All about Figaro

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There two versions of The Barber of Seville, the opera and the play, are ultimately the same thing in terms of plot. Everything takes a similar, if not the same, route like the way the Count dresses in disguise to meet Rosine, how Bartolo is trying to maintain his plan to marry Rosine, and how the Count ends up with Rosine instead. There are slight differences in terms of the execution of these actions where in the opera, the Count threatens the notary with a gun instead of bribing him with money. That action changes the Count’s character from the play.

Character was one thing that greatly differed from opera to play. Just like how the Count’s character slightly differed from the play, Figaro’s character also differed. The Character of Figaro was more pronounced in the opera and his role is more prominent. Figaro was just a supporting character in the play, with the main character being the Count but the opera changes that. The whole beginning scene (which was not in the play) is even dedicated to Figaro. I feel as if the opera was centered around Figaro and now, the title makes more sense to me.

The opera showcases Figaro’s singing more and the musicians in the opera appear more frequently than the chorus did in the play, making the whole thing more musical. Instead of just Figaro being the musical one like it was in the play, the whole cast is now singing and it seems more interesting to me. Because of the more musical tone of the opera, the lines are shorter and are more to the point, making for an easier and quicker read. I find myself wondering how this all sounds.

Is Race Reflected By Your Outfit?

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In “Is Race Reflected By Your Outfit?” Pamela Paul talks about a study done by researchers from Tufts, Stanford and the UC Irvine. Participants were asked to determine the race of different people in pictures. Some were well-dressed, pictured wearing business suits, and some were poorly-dressed, pictured wearing a janitor’s outfit, and all were within 13 shades of skin tone color. The question at hand here is the title of the article, “Is race reflected by your outfit?”

According to the study, “Yes, race is reflected by your outfit”. The researchers used mouse-tracking analysis where they measured the speed and position of the mouse when a participant used it. Whenever a white man was shown wearing a suit, the participant immediately the “white” button but when the same man was shown wearing a janitor’s outfit, the participant hesitated to click “white” and even hovered over the “black” button.

I think it is outrageous that people think this way and associate people of darker shades with lower-ranked jobs. Most people think that way though, and this experiment brings to light what people are secretly thinking but don’t say out loud. This study is interesting because even though the researchers aren’t actually reading the participant’s mind, the mouse-tracking analysis shows the thought process of these people.

Paul mentions how most of the participants were “overwhelmingly white” but hardly any African-Americans or Hispanics agreed to participate. In this experiment, there is a big emphasis on race and how different races are viewed in society, which is a touchy subject, but even though Paul is not a reviewer, she keeps a objective tone in this article. If i were the one writing this article, I don’t think I’d be able to keep the objective tone Paul has.