Unlocking the Complexities of Opera and Musical Theater, Thesis Paper Example

When discussing artistic expression, it is never simple to verbalize the effect a particular medium has on its listener or viewer. However, as students of musical theater it is important that the distinctions which exist between musical genres be understood. By doing so, we will be better able to create quality art within the structure of a particular form of expression. One of the most difficult modes of artistic expressions to distinguish is the difference between Opera and Musical Theater. While both forms utilize music, lyrics and characters in a stage-based format, vast differences exist between the two artistic mediums. This paper will seek to examine the differences and similarities of these two forms along with their respective histories, limitations and potential futures. In addition, this essay will seek to answer the prompt that in Opera music is the driving force while in Musical Theater it is the lyrics which have the greater emphasis.

Organized dramatic musical expression can trace its roots back to the ancient Greeks who mixed music with drama. However, what is considered modern Opera emerged in Italy in the 1600s from various intellectuals, artists and musicians who took inspiration from classical Greek drama and composed a mixture of dialogues and choruses which were recited along with musical instruments. In this original fashion, a singer would perform a musical melody with the dramatic and oratorical skills of an actor. This was designed to convey the meaning of spoken word while directly invoking the listener’s pathos via the music. These early opera composers held that the human voice was ideal for expressing emotions and desires and became incredibly popular. By the later half of the seventeenth century, opera was a major art form with tremendous casts of people performing in front of decadent scenery. In addition, the plots became significantly more complicated with dramas requiring significant acting experience.

To understand modern Opera it is important that we understand where it came from. The height of opera was the Baroque period. This period was dominated by Handel who sought to create musical dramas mixing tragedy, myth and history as in Julius Caesar. Along with an exciting plot and various dramatic moments, Handel uses a string orechestra along with woodwinds to backup the essentially plot-driven and word-driven storyline. This all changed with Mozart. In contrast to Handel, Mozart put the music in the forefront and sought to convey items such as mood, situation and character entirely via music rather than dialogue or scenery. A prime example of Mozart’s work is The Marriage of Figaro which discusses his era’s socio-political issues using music to convey his message. Mozart’s genius in The Marriage of Figaro is to present a message of social reform, equality and freedom purely through music. This trend away from dialogue and towards music to convey meaning came to define the Opera form. This can be seen in the work of the German Romantic composers, most notably Wanger. Using gigantic productions full of powerful singing, these composers presented major historical themes. In a continuation of the move away from expression via dialogue they integrated ballet and other mediums into their work. This height of this music-drama concept can be seen in Wagern’s Die Meistersinger von Nürnberg (The Mastersinger of Nuremberg), Tannhäuser, and Der fliegende Holländer (The Flying Dutchman). Throughout its centuries long history opera has had tremendous influence across the music spectrum. The operatic symphony, for example, began as a background accompaniment to 18th-century Italian opera. The violin cadenzas in addition to piano concertos come into view, in hefty part, from an effort of duplicating some of opera’s voiced passion. Opera shall prevail as a vibrant type of art as it continues to evolve.

When discussing Musical Theater, the place to begin is with the composers Rodgers together with Hammerstein which established the medium’s current format and style. Building on earlier concepts of music-drama and theater, Rodgers together with Hammerstein sought to create a form of folk art which would be accessible to the multitudes as well as be entertaining. To do this they mixed dialogue with dancing and music. This technique more clearly presented the feelings of a character that the composer wanted the audience to feel visually. Through physical movement, the expression of emotions was demonstrably portrayed and assisted the viewer to somewhat experience that single emotion of love, hate, or fear that the character was experiencing on stage. What is unique about Musical Theater versus opera is that the lyrics of the song were the focus and that the music itself as well as the dance were in support of the dramatic message. Rodgers together with Hammerstein achieved a unique balance between two elements (story and music) so that the viewer could find meaning in both. It would have a meaning and a purpose in the play and heighten the excitement in the musical. And in many instances, this balance would further the plot or at best help the viewer to synthesize the character’s feelings at that point in the musical.

In fact, it became so fashionable to integrate dance into the musical, that it was sometimes injected when it served no dramatic purpose, and sometimes even when it hindered the unfolding of the story. After awhile dance became overused, which seemed to ruin what Roadgers and Hammerstein had set out to do by including dance to heighten the meaning of the musical. Other writers or choreographers who inserted dance were not adding it when it would help the musical. Directors came to believe that dance was a necessity in a musical, for it was one of the key reasons why Oklahoma! was so successful. So the additions were made, but were not really thought about their purpose when they were added. What was forgotten was the obvious need for the dance at all. Dance was thought to be a want of the audience, not taking into consideration if the musical even required the dance at all. So, this problem developed into an “insertion frenzy”, adding dance just for the mere spectacle of it. But in Oklahoma!, everything fit into its place. For the first time, not only were the songs and story inseparable, but the dances heightened the drama by revealing the fears and desires of the leading characters.

Dance was not the only idea that Rodgers together with Hammerstein brought into their new collaboration. Joseph Swain adds that much was made at the time of the hero’s killing the villain on stage in Oklahoma!. This too was not new. But while the claim to originality was once again exaggerated, Oklahoma! by virtue of its huge popularity, a popularity in no way reduced by an unpleasant scene, did open doors. Oklahoma! was in fact in the genre of Musical Comedy, and many critics felt that villains and murder were not elements that should appear in a comedy. It was thought that such items would turn audiences away from Oklahoma!, having the idea of going to see a comedy and leaving feeling like they had seen a murder mystery, and not laughing at all was not the main objective of comedy theatre. But once again, these elements were a key part of the musical. David Ewen pointed out in The Story of America’s Musical Theatre that the original play had both villains and a murder, and Rodgers together with Hammerstein had no intention of removing them from their musical. Ewen quotes Hammerstein saying,

Their show soon showed itself to be a success, even with a villain and a murder. The audiences were at first disturbed to see these elements in a comedy, but soon came into agreement with these new additions and liked its originality and creativeness. Also if these two elements had been removed, it would have disturbed the synchronization and union of all the other elements of song, dance and plot in the musical, which was what the writers were trying to avoid at all costs.

Audiences were already acquainted towards a the magnificent opening and and the existing chorus. It actually resulted to specific magical as well as glorious starting point in as far the music was concerned, with a preliminary excitement in addition to volume. This also suffered a certain degree of criticism, majority with the opinion the audience may deny their attributes that they treasured most as a result of the play being forbidden. But Rodgers together with Hammerstein were engaged in yet an alternative risk, which as they later discovered, was of a lesser magnitude in severity. In the first place, the audiences became disappointed by that fact that, the opening chorus had been erased, but ultimately they were in a position to excused it. This was attributed to the devotion that they consequently developed by the musical style which was presented to them by Rodgers together with Hammerstein. The play developed from a humble opening to a magnificent finale, which resulted to a high degree of audience excitement that was a stimulant as well as interesting in the recounting of musical until the concluding chorus line in addition to curtain call. It culminated to suspense together with the yearning for more. Rodgers together with Hammerstein obviously had a good fathom for their deeds, despite the negative opinion from their critics.

Bordman restates that in most occasions it becomes unbreakable to realize “Oh, What A Beautiful Mornin’ ” is the waltz. The melody “The Surry with the Fringe on Top” captures the clippety-clop with a horse dragging the vehicle. Rodgers’ long-sustained avenue note of the title of his song in conjunction with a driving melody which precedes was among the freshest inventions and faultless words blending of music in the “People Will Say We’re In Love” justifiably gained the most well-liked annual as songs in addition to plot highly integrated.

This harmonization of the musical rhythm along with words was remarkable. caught effortless sounds of actions at the stage and furthermore incorporated them in song, as if all lives of characters were able to survive with music. This mixture of music, the sound, as well as stage movement is vital component of the musical theatre. The audience should believe about character’s life as a song. It is necessary that all character make viewers feel like the music is not just a stupid calculation to developing the plot, but an accessible entry that shall exist at a point in time. The viewers should be attracted to a world of musical, not just basically entertained. And on one occasion, Rodgers together with Hammerstein had achieved that ambition. The integration was absolute to the “T”. They were creating a musical which was flawless that extracting a solitary detail would destroy the entire work of art. It was a job of absolute union as well as an achievement that was not simple to create.

Oklahoma! was a method for city inhabitants in the City of New York who was among the spectators to locate the west without leaving the city. Rodgers and Hammerstein had experienced accomplishment when they tell a story by song as well as dance and also transport the spectators to the musical setting. Playgoers left the theatre feeling as if they just returned from an escapade out west, which is a playwrite’s restricted purpose when creating a play. The audience must believe they experience the plot with rest of actors on the stage. Thus is the major intention of theatre; to incarcerate attention of the viewers and take them to a different place plus time in which case the plot is the struggle in the human race at the particular time. Rodgers together with Hammerstein captured the spirit of musical art in Oklahoma!. The audience experience sounds as well as motions of west through characters, the music, the lyrics, the costumes, the sets, as well as musical dance. All aspects were interwoven to form a “musical quilt” to attract a range of concentration as well as astonishment like no other play or musical was completed before.

Firstly, the opera is a highly challenging filed and also, it requires great efforts in the acquisition of the relevant talent along with technique and thereby daily practicing in many hours is a mandatory. The education needs to acquire the status of an Opera Singer does not match any other occupation with regard to schooling. Most of the singers never attend any music conservatory once they leave school. Students in voice section get music theory courses in addition to hearing skills in all semester until they attain all the relevant requirements. students in such institutions learn the essential vocal and musicians techniques that facilitate the enhancement of their performance, their style, their presentation, as well as speech. Some students opt to coach recital material or discover French along with German Art Song repertoire: Other opportunities of performance comprise of oratorio, lieder, art song, contemporary as well as early music literatures, in addition to choral music. Most students think about joining verbal music ensembles like the chamber singers in addition to bigger voiced ensembles; Voice students likewise appear on a regular basis in student recitals in addition to present most important recitals during semesters at a convinced music conservatories. On the contrary, music conservatories are very costly and more importantly not essential needed for those studying as well as practicing for a greater part of their life and posses personal vocal trainer. There is no definite degree in which a performer requires to obtain a job and is more based on experience and credibility. One way to gain experience is to take part in small community theater opera’s; it’s a great way to sharpen a person’s craft. Also taking part in a vocal ensemble is another great way to gain experience. Some ways to earn credibility is to move to a city that is known for their opera companies (some are Chicago, New York, Italy and Australia) and study under a top music conductor or mentor.

Similar to Opera in Musical Theater it is not required that one have a degree to perform but significant training and regular practice is essential. As a Musical Theater major, one pulls the attention on the ideology techniques such as theater, music along with dance as well as learn the best approach behind putting together those into a amalgamated production. One could say that musical theater majors is a triple threat because the course includes tutoring in acting, performing dance, voice, practical theater, the musical genres, the piano, as well as history associated with musical theater. However like Opera conservatories, this major is also very hard to get into because of how competitive the field of study is and the amount of knowledge one should have before entering college. An average performer spends about 5 hours a day practicing their craft, which includes dance lessons, ear training/ sight singing, vocal lesson and theater lessons, also one must have work-out plan to stay in shape. The education requirements for both of these careers are very similar but at the same time they both have qualities that are deferent, for example an opera singer does not need dance training because there is really no dancing in opera, its more about the acting and the vocal techniques. Music Theater doesn’t quite focus on musical techniques but more on the dancing and acting.

References

Colles, Henry Cope (1978). The Growth of Music : A Study in Musical History, 4th ed., London ; New York : Oxford University Press.

Harwood, Dane (1976). “Universals in Music: A Perspective from Cognitive Psychology”. Ethnomusicology 20 (3): 521–33.

Nolan, Frederick (2002). The Sound of Their Music: The Story of Rodgers and Hammerstein. New York: Applause Books.

Small, Christopher (1977). Music, Society, Education. John Calder Publishers, London