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Opera u povijesnoj ropotarnici?
Tonći Šitin
Abstract
Throughout the centuries, the changes in the world of opera happened gradually, and only the insightful critics recognized the progress in aesthetics and
style. Their written observations help the reconstruction of a time, and of the
complex social circumstances and musical-stage-interpretative levels. The
established conventions are applicable mostly to operas performed in the last
200 years, and include recitatives and arias that are the backbone of the most
popular operas in the last century. Opera, as a unique combination of music
and drama, has always presupposed a tolerant audience - one that wasn't
disturbed by various reforms, changes in style, "fat" female singers or, previous to them, castrates, dominant sopranos or tenors. This audience sought
musical satisfaction above all, and appreciated opera's ability to create character and drama. The usual division of singers-actors to those before and to
those after Callas proves to be inappropriate - Chaliapin and Rosa Ponsella
(between the two wars) are just two among a great number of inspired artists
who don't fit either of the groups. The singing standards of bel canto called
attention to the importance of developing character and drama by voice, while
the opera critics (mainly from England) fully analyzed true values and individual accomplishments and, in that way, fought for a better tomorrow of
opera. Toscanini 's aesthetic orientation was crucially significant not only to
the Italian opera life, which, during a certain period of time, reflected political
and social events within the extremely politicized (fascist) Italian society.
In the 20th century, both technical progress and turbulent political and social
events have encouraged the forming of a new kind of "musical theater".
Multimedia projects and musical fusions create a new picture of opera,
which is - in vocal and stage terms - different, and directed chiefly at a
younger population more familiar with chamber stage and everyday-life
themes. Vocal techniques, stage-managing and scenography are altered in
experimental performances, which still can't hold their own with the old
opera spectacles that have become a lucrative business. Be that as it may, the
new opera forms, containing more or less musical expression, and with
authors exploring previously obscure ideas, offer a fresh musical and stage
language that is slowly taking over smaller theaters and approaching big
opera houses unwilling to yield priority.
Keywords
Hrčak ID:
279586
URI
Publication date:
31.12.2004.
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