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.