Retrospection

Take this as an axiom. The best interpretation is only as good as the weight of the evidence and logic that support it. This refers not only to the consultation room but to the opera scene as well. Sometimes the obvious can be discerned only by retrospection; looking back and recalling past events may reveal logical connections that would otherwise have been suggested at best and at worst would create a sense of unrest and unresolved doubt. Much has been said of and written about character analysis in opera. What is the platform upon which these character studies are based? Presumably, a thorough and in-depth reading of the libretto is an absolute requirement but without an appreciation of the music and its use as a descriptive tool, no valid interpretation of the character is possible. Further, the most effective way to achieve this end is to study the libretto together with the musical score from beginning to end and allow the overall impression to filter through in a process known in psychoanalysis as Free Floating Attention to which I refer in my book: “When the Fat Lady Sings…Listen!” The composer custom-tailors his music to accurately fit the dimensions of the characters in the opera. The opera composer’s attentiveness is finely tuned to discern personal traits by his innate sensitivity very similar to that found in painters and sculptors. An example from Act I in Verdi’s Otello may clarify this point. Otello, governor of Cypress has returned home in triumph after having defeated the Saracens. He and his wife Desdemona have retired to their chamber. The citizens are in a festive mood; they dance and sing joyously around a fire in the square. Everyone is happy – everyone except Iago whose hatred of Otello simmers and smolders in anticipated vengeance. In simulated innocence, Iago entices Cassio, the officer on duty to drink until the latter becomes drunk. In the events that follow Cassio wounds a fellow officer in a provoked duel that creates a tumult in the entire square below Otello’s chamber, causing Otello to come out to investigate. The outraged Otello orders: ‘Abasso le spade’ (Lower your swords). Verdi’s music is monotonic until “spade”. The interval between the syllables “le” and “spa” is a semitone (half tone); the interval between the syllables “spa” and “de” is an octave down. This fact in itself is meaningless but when contrasted with a full tone between “le” and “spa” as a possible alternative, the impact is astounding and significant. Why? It is because the auditory evidence reveals that the written interval sounds constricted; the proposed alternative is experienced as being authoritative. Is there any doubt that Verdi intentionally penned the semitone interval and that its purpose was to make a statement about Otello’s personality? Contrast this with Otello’s heroic “Esultate!” (Exalt!) upon his initial entrance. This incisive revelation could not have been made without a thorough, in-depth study of the score and libretto. It is through retrospection that we can realize the composer’s genius to tell his story.

Alternatives to an Existing Theme

If the composer's objective is to tell a story his task is to translate the music into intelligible language. How does he accomplish this seeming incongruous feat? A possible solution may be provided by offering an alternative to an existing theme. A good example presents itself in Act I of Verdi's "La Traviata". Violetta left alone after Alfredo's ardent avowal of his love for her, struggles with her mixed feelings whether to go off with him or to continue her present life of partying and entertaining. According to the music of "Sempre Libera" [Forever Liberated], Violetta chooses the latter possibility. But in Act II we find her living with Alfredo. Clearly, we've missed something; logic would dictate that we raise an eyebrow of wonderment. Opera-goers traditionally ignore what is a clearly illogical situation. Of greater importance to them is: How the soprano sang the scene; Were the coloratura passages negotiated accurately and effortlessly? How did the evening's Violetta compare to others of past glory etc? These considerations fall short of the composer's true resolve to tell a story. If we are true to our innate quest for logic we must search for a plausible solution. Verdi does not disappoint. He provided a reasonable cause for Violetta's decision. How? The evidence is found in the duet between Alfredo and Violetta beginning with "Un di felice" [One happy day]. https://youtu.be/4oJwdMG-eeA (15:05 - 15:45). Note the presence of an upbeat, a sixteenth note. The melody then flows elegantly with slight skips (dotted eighth notes to which are attached sixteenth notes). One gets the feeling of a smooth line - of an experienced dancer gliding along on the dance floor. This is how Verdi presents Alfredo to Violetta when they are alone. Verdi chooses this musical line. The message is clear. I am suave, experienced; I am dynamic. Violetta responds to Alfredo's elegant and aristocratic advances with mixed - even contradictory emotions. She tells Alfredo she knows nothing of love and can offer him only friendship. She is somewhat reserved and remote but her music tells a different story. There are leaps and bounds in her music, a leap of a minor sixth going to a minor seventh followed by several descending bounds and coming to rest. This sequence is repeated; the leaps and bounds are sung for a total of four times. (16:40 - 17:07). Hearing Violetta's music one can easily envision a Springbok in full flight from a chasing predator. Despite her efforts to maintain her poise, Violetta is in a panic; Alfredo's ardent pursuit makes her terribly uncomfortable. The evidence is the quandary of feelings Violetta expresses after Alfredo's departure. The reader may be tempted to question this reading of the scene. But take a step back and contemplate the following alternative. We have Verdi's choice on record but what if...? Suppose Verdi had written Alfredo's music to "Un di felice" in a straightforward meter of 3/8. All the notes would have had a value of eighth notes or higher; the dotted eighth notes followed by the sixteenth notes would be gone. The melody would have sounded drab, plodding and singularly uninteresting. Now compare it to the actual music with its verve and dynamics filling the air. The latter represents Violetta's suitor as a veritable thoroughbred racehorse the former would represent a run of the mill suitor the likes of which Violetta would have turned away by the dozens. Not only that but Violetta's response would no doubt have been casual and have indicated her boredom. If we explore the potential possibilities that were available to Verdi we begin to realize the vast riches of the composer's understanding of the human condition and indeed his genius to translate the music into an intelligible language. We now can understand Violetta's decision; we now have a logical story to tell about the intricacies of human interaction, and all because we dared consider an alternative to an existing theme.

Changing the Interval

Like any form of Art the key word or concept is communication. The opera composer's main purpose is to convey his thoughts and ideas about his chosen subject. In the case of the written word the author has unlimited latitude to get his ideas across. Other forms of Art must translate the communicative process into a form that takes into account the limits of the chosen medium. Impact and immediacy are paramout considerations in painting, sculpture, dance and music.In our case, opera, the project is compounded because it combines music and text. The task invites the composer to unite an unlimited quantity - words, with music - an amorphous approximation of meaning and intent to create an amalgum of ideas. Simple? No. Possible? Yes. How does the opera composer accomplish his intended goal and what are his tools? Simple answer, many possibilities. Let's explore one of them - the interval or the space between two notes. In Act III of Puccini's opera "La Boheme" we find the poet Rodolfo, telling his friend Marcello the painter that he wishes to separate from Mimi with whom he had fallen in love and is now living. His reason? Mimi flirts with every man she meets who but looks at her. In the selection that begins with: "Mimi e una civetta..." (Mimi's just a flirt...) Puccini wrote an interval of a semi-tone between the two syllables Mi and mi. (https://youtu.be/kHAS7r8Pd0k 1:09:54 - 1:10:03). Supposedly he's explained his rationale to Marcello; but the latter does not accept this excuse. Marcello accuses Rodolfo of not being truthful. Whereupon Rodolfo recants and reveals his true feelings. Puccini begins with a repeat of the "Mimi e una civeta" theme but now the interval is a perfect fourth that is, a leap of four notes instead of a semi-tone ( 1:10:28 - 1:11:35). The effect is thrilling. Rodolfo pours out his pent-up worries and feelings of helplessness in the face of Mimi's deteriorating health. By opening or widening the interval Puccini reveals the force of human feelings that beset this figure. It is a marvelous achievement of illustrating how by simple manipulation of a musical theme the composer is able to describe this heart-rending situation. If we the listening audience focus mainly on the beautiful melodic line or the sensitive interpretation of the singer, we miss a significant and even essential element of the composer's keen observation of the human condition and his genius for describing it in musical terms. Puccini is describing dynamic human behavior using music as his instrument of expression.

Relevant Issues in Opera

The opera composer, being human as all of us are, operates within the parameters of behavior as any other person. All the defense mechanisms that apply to our normal (and sometimes outside the realm of normalcy) form of behavior apply to those of the composer as well. The creative aspects of the composer cannot, by definition, transcend the boundaries imposed upon all of us by Nature. The sole purpose of human existence is to communicate with others and to have others understand us; each person has his individual style and manner of expression that identifies him and distinguishes him from others. Everyone has a story to tell; every person wishes to be heard on some level of communication. That being said, the composer wishes to tell his version of a story. He does so by means of his chosen instrument of expression provided him by Nature namely, music. His creative presentation to us his audience is an opera, a musical version of a story. In the absence of narrative, there is no opera; the musical composition beautiful and artistic that it may have no relevance. We the opera audience sophisticated and novices alike have been conditioned to view the operatic genre purely from a musical point of view. We have focused our attention upon the great singers and on the beautiful musical numbers in the score. We have our favorite operas, singers, and selections. But the text has always been viewed in a negative light. The story is negligible at best; it doesn't make sense most of the time. The important element is the glorious music. Actually and logically the reverse is true. The purpose of the composer is to tell his story through the use of music. To quote Shakespeare: "The play's the thing". Music in the hands of the composer is the equivalent of a mallet and chisel in the hands of the sculptor and an easel and paintbrush in the hands of the artist; it is merely an instrument of expression. Our focus then is the manner by which the composer uses his musical talents to describe a scene, a tale or even a situation. He chooses his varied musical palette carefully and with intent - sometimes on an unconscious level but always willfully. It is part of his human DNA as it is ours. As such, we can and do identify with it; we can understand his language for it is ours as well. In the series of posts that will follow, I will discuss several aspects that I have referred to as issues that hopefully, will explain how the composer uses his considerable musical talents to further a very real life-situation. As I shall endeavor to show there are relevance and logic to the libretto; we have only to learn the composer's language and its implementation.