In preparation for this weekend's production of "Arlecchino" and "Too Many Sopranos," I would like to offer a quick overview -- a primer, if you will -- of the fundamental aspects of opera in the hopes that understanding each one will make attending the it a little less confusing, inaccessible, and dreadfully unappealing.
THE MUSIC\nLibretto: This technically isn't music, but it's just as important. The term "libretto" refers to the text that is being sung ("lyrics" in today's songwriting) and is often, but not necessarily, poetry. Opera-goers will find that the meaning of the text may or may not have any bearing at all on the intentions of the composer, conductor or director.\nScore: The score is the music to which the libretto is set. It contains many musical components of which it is important to be aware: tempo (speed), dynamics (changes in volume from loud to soft), melody (tunes) and accompaniment. You will hear all sorts of descriptive, and sometimes meaningless, phrases when it comes to the score -- things such as "well-crafted," "majestic," or "over-inflated."\nAria: An aria is a showcase number for characters within an opera. Arias are designed to display the best qualities of the performer's voice, thus singers have historically sacrificed such elements as tempo and rhythm in the name of musical grandstanding. In one famous example, the soprano Geraldine Ferrar was rebuked by conductor Arturo Toscanini for deviating too far from the score. "Maestro," she said, "please remember I am a star," to which he curtly replied "The place for stars is in heaven!"\nRecitative: Recitatives come in advance of arias and are meant to set up whatever particular emotional state or plot twist is about to be expounded upon. They do not contain melody per se, but are rhythmically closer to actual speech and often accompanied by thinner instrumentation.
THE MUSICIANS\nConductor: This is the man -- or, in a growing number of cases, woman -- in charge. Referred to as "maestro" in hushed, reverent tones, the conductor coordinates the music-making of both the singers onstage and the instrumentalists below. Matters of tempo, dynamic subtlety and overall flow of the performance are at the mercy of his seemingly inexplicable arm motions. \nOrchestra: This is the group in the pit providing instrumental backup for the singers onstage. Orchestras vary in size depending on the opera, and their members often take advantage of the lowered visibility a pit environment can provide. \nSingers: Singers are generally either members of the chorus (described below), or are characters. Character types are divided into four main voice parts:\nSoprano: The highest female voice, the soprano is flighty, demanding and unforgivably self-worshipping; her onstage behavior, however, may be an entirely different matter.\nMezzo-soprano: The lower of the female voices, mezzo-sopranos nearly always appear as witches, women of ill repute or, in special cases, men.\nTenor: The higher of the male voices, tenors sing the role of hero. Their characters are generally handsome, pure and slightly dim.\nBaritone/bass: The lowest of low, the bass voice is almost universally applied to either villains or oafish sidekicks.\nChorus: This group is onstage primarily to give toasts, enjoy country festivals or repeat everything that has just been sung by the main characters.
THE REST\nCritic: That's me. Music critics are generally divided into two groups: musicians who can write and journalists who can understand music. I prefer to think I fit into the first category, though I'm certainly open to dissenting opinions. My responsibility is first to communicate to the reader my impressions of a production and second, in the event of a good show, encourage enthusiastic attendance or, in the event of a bad one, avoidance at all costs.\nAudience: That's you. You are there to admire and appreciate both the masterful work of art being presented and, I hope, the unbelievable talent and hard work that have gone into putting it onstage. A few basic responsibilities in the way of etiquette: \nTurn off your cell-phones, watches, children, anything that could possibly make noise. The singers are making enough noise, they don't need your help\nIf you absolutely must unwrap a mint, candy, etc., for heaven's sake do it quickly. A slowly unwrapped candy is about as painful as a slowly peeled Band-Aid.\nApplaud when a performer has done well. He or she deserves to know it.\nAnd a final piece of advice: Enjoy yourself. Opera can be wonderfully entertaining and fulfilling. Don't be afraid to like it.
