This is Opera; 1; Drama in Music

Popper has a special kind of magic about it. It's something that gets into your blood. And once it does, you'll find yourself coming back for more and more of this wonderful experience. Millions of people do, and I wonder why? What is opera anyhow? Some people say that it's the most exciting form of theatre that they know, and other people add that it's a very great art, a very intense artistic experience, perhaps the most intense that they are capable of. It's not only music and drama, it's something that is greater, bigger than some of these separate parts. And then there are some people for whom the opera seems to be chiefly and

excused to get dressed up, and where beautiful long white gloves and where a tall opera hat and get driven to the show in a chauffeur -driven limousine. During these next few programs, I'd like to tell you some of the reasons why people love opera so much all over the world. An important part of our story is going to be the Metropolitan Opera in New York City, and we're going to have a chance to see some actual performance of parts of Mozart's great comedy, Kozy Fantute, done by members of the Metropolitan Opera Studio. But first, let me tell you some of the reasons why I think people love opera so much. The first and most obvious reason is that opera is drama. This is an exciting story that is acted out for you by living people, a story full of action and suspense and conflict, and very, very strong emotions. But these special magic, I think, of opera is the human voice, the human voice

singing. Now, all of us have sung, sing in some way or other, and we've all listened to singing since we were born. And we've all listened to singing in some way or other, and we've all listened to singing in some way or other, and we've all listened to singing. Those voices, our voices, are the simplest and most natural

kind of instrument in the world. And the most expressive too, I hardly need to remind you of all the feeling that goes into a mother's lullaby. But in opera, there is more than just this feeling. The voices in opera are cultivated for their own sake. They're cultivated so intensively that they have a wonderful, wonderful physical sound. They're so beautiful, they're like an artwork in themselves. In fact, that sound can be so magnificent that it's absolutely impossible to resist. And we've all listened to

singing in some way or other, and we've all listened to singing in some way or other, and we've all listened to singing in some way or other, and we've all listened to singing in some way or other, and we've all listened to singing in some way or other, and we've all listened to singing in some way or other, and we've all listened to singing in some way or other, and we've all listened to singing in some way or other, and we've all listened to singing in some way or other, and we've all listened to singing in some way or other, and we've all listened to singing in some way or other, and we've all listened to singing in some way or other, and we've all listened to singing in some way or other, and we've all listened to singing in some way or other, and we've all listened to singing in some way or other, and we've all listened to singing in some way or other, and we've all listened to singing in some way or other, And we've all listened to singing in the song that's driving to us." That was UC Burling. That was UC Burling. That was UC Burling. That was UC Burling. That was UC Burling. That was UC Burling. that was UC Burling. here. There you feel in the singing, the tremendous emotion, the tragedy in that man's heart. Well, what else is opera beside drama and singing? It's a great many arts. And since we're going to see some parts of Mozart's Kozifan Tuti, let's take that as an actual concrete example.

By the way, the title of Kozifan Tuti means that's the way they all are. And what arts does opera take besides singing in drama? It takes for one thing painting because you have to have stage sets, you need a background for your singers, something to create the mood and establish some of the character of a piece. Now, the story of Kozifan Tuti takes place in Naples about 200 years ago. And it's a happy story. I think you can even guess that from looking at this sketch. This is the artist's idea of how he wanted one of the scenes to look. And you can see there is a feeling of lightness and elegance. There's not a photographic reality here. Those arches that you saw in the sketch, they did come from reality. This, by the way, is a palace built in the neighborhood of Naples just about the time the opera Kozifan Tuti was being written. It's not a photographic reality though that the artist gave you. It's his feeling and the feeling of lightness and elegance he

wants to establish for this opera. But before he goes on to build the actual sets, there is a step in between. The artist first builds a model of the stage, a model in three dimensions. He uses this model to solve all kinds of new problems. For example, the stage director has told him how people are going to move about on the stage. And so he takes account of this and the motion of the characters is allowed for in the way he sets up the objects on the stage. And then there are all kinds of other things. The way the lighting will work, how it will affect the blending of colors he has on his sets and the 1 ,000 and 1 technical details and the many crafts that go into this one art of stage design. And when he's got this far, then he has this model translated into actual sets for full size on the stage. And now the stage is set and we're waiting for the singers to come on.

But singers have to have costumes and so we have a costume designer who works much the same way the stage designer would. For example, starting out with sketches which are an indication of how the costume is to look eventually. For instance, here we have the Spina, who was a chamber maid in the opera cosy fan tutu. And then we have one of the grander ladies, one of the sisters and she has a beautiful fanciful costume. One that is not entirely fantasy though because it's based on historical fact. It's based on old sketches, old etchings like this one. And then it's transformed with the artist's eye with the fantasy and the likeness. And to give it the character that he wants for this special opera of cosy fan tutu. And now that the singers have their costumes too, we're ready for the show to start. We're waiting for the orchestral musicians to come into the pit. Now what is a musician anyhow? Well, he or she is a person who can

translate black marks on paper into living breathing sound, who can create a whole world out of instrumental sounds and voices and bring it all to life. It all hinges on that word can because they've trained hard not for years, not only to play beautifully and accurately and expressively by themselves. They've trained for terrific group precision too for teamwork. And like an all -star team, they're ready for the unexpected. They're ready to respond instantly to every gesture of their leader, the conductor. The conductor has the most responsible job of all. He has to create the whole opera in his imagination. And then when he launches the orchestra into that overture, he not only has to keep everybody together like a well -practiced team, he tries to start an undercurrent of excitement that will infect the players in the orchestra. And then when the curtain goes up, it will affect the singers. And from the singers to the audience, this kind of excitement we

call inspiration. The thing that makes even the most familiar music sound so fresh, you feel as if it were an absolutely new discovery. And in a way an inspired performance is a new discovery. No two of them are ever alike. Usually this kind of inspiration starts with the conductor, but it may also start with one of the singers on stage and spread to the other singers on stage and then across the pit to the audience until the whole performance catches fire and the audience with it. And you and I are swept along on the crest of this tremendous feeling. A great singer of our time said not long ago, what is music? It's intangible. You can't see it or touch it. But take some notes and add them up. And in the addition, you find whether there is greatness or not. You take a melody. You sing it, you purify it, you make it beautiful. And this is what drives you forward. But with a singer, it's especially hard.

A pianist, after all, has his fingers, at least they're always there. But a singer doesn't always have a voice. The singer works with a column of air from the chest of the throat. And it has to be always open and clear. An idiotic little bit of saliva can reckon out and a bad note can record performance. And that's the mystery of it, the mystery of singing. You never know how well you will do no matter how much you feel for the music or how well you are prepared. And even that is not the end of our story. My point for now is that it takes all these people and all these arts to make an opera. And now I have a question. What makes opera different from theatre? Is it only theatre plus music? What's the point of music? What can music do? We've talked quite a bit about opera, but so far you've only heard one tiny little excerpt and you haven't actually seen any. Now in just a minute, members of the Metropolitan Opera Studio are going to actually perform some chorus, but not in quite the way you might expect.

And this is going to be part of our answer to the question about the difference between opera and drama. Let me start our experiment by introducing two chambermaids of my acquaintance, the Spina 1 and the Spina 2. Both of these ladies have agreed to tell us what they think about faithfulness in men, especially if they happen to be soldiers. Ladies. You think that men are stable? That's a childish fable. Fidelity is a soldier and virtue in a man. Who's ever seen it? Give me one good example if you can. If you can. Who would ever believe such a man? My straw. You think that men are stable? That's no more than a childish fable.

Fidelity in a soldier and virtue in a man. Who ever saw it since the world began. Give me one good example if you can. If you can. If you can. And believe such a sentimental tale of the perfect and ever -loving male. Thank you ladies. You'll see what I'm up to in just a minute. But it's not for now to say that you've just seen a tiny little bit out of Mozart's opera, Jose Fantouti. And you're going to see a little bit more in just a second. The story is very simple, really. There are two young army officers and they've made a bit with an elderly philosopher friend who

claims that all women are fickle. Now these two young men are just about to be married and each one claims that his bride to be as a model of faithfulness. So Donald Funzo suggests that they pretend to go away to war, come back disguised and see if they can flirt with the girls a little bit without being recognized. So as we join them now, the girls are taking a tearful farewell of their lovers observed by Mr. Spina and Donald Funzo. My friends, my friends, it's time you've started. You must be going. Beauty is calling. Destiny has decided. My love, virus beloved. My love, my precious. Stay just a moment longer. The first one of the barges has already departed. Better hurry the soldiers are waiting to escort you on board and they are getting impatient. Just one last kiss. One kiss. My darling. I cannot bear nor I be sure to ride

me day. Of course dear, of course. Like me twice daily. Of course dear, of course. I promise, I promise. I'll die if I stop laughing. Where are you always be true? The angel of course. Be true, be true. Of course dear, I promise. And think of me always. I promise always. I do. I do. How I should grieve. I mourn. When we are parted. How I'll mourn my love. My love, I love you. I love you. When I love, love you. I'll die if I stop laughing. I love you. I love you. No sooner have the officers left than here they come again. I present Miss Despinetta, a most

discreet and charring person. She alone knows best how to help you reach or a goal. I am deeply pleased and genuinely honored that you would help me. It's most kind of you to aid me when the goddess of my soul. I couldn't it's gracious, how loquacious. That regalia, those moustaches, did they come from Patagonia or perhaps from Timbuktu, China, Turkey, Malaya, the Congo? Have they no virtues for you? Sir, I don't want to hurt you but really they're too fantastic and as lovers so too at Lanush exotic don't exotic. She is fooled by a disguise there is nothing more to fear. Donald Fanto just between us. Did you find them on the moon or perhaps some Mars of Venus? Did they land in a balloon? I am coming. Now you take a man and remember I'll join you later. This is the limit. You're forgetting your position. Who gave you permission to indulge in silly babble with puddles to range? But those creatures out this very minute

are dear ladies. How unfeeling here before you are two abject slaves begging your mercy. And that's all we're asking for. That's all. That's all. That's an outweighed pretension. Who would force unwished attentions on us now? What an outweighed with all our will. Dearest ladies, they are gentle. A gentle and sentimental. Who would dare to stoop so low? We are gentle. A gentle and sentimental. You are brazen and revoked up molesting us in gold. Have a certain sponsor's vision that they're fury is all for show. And I do have a certain feeling that they're fury is just for sure. Oh dear love the pangs I suffer you will never know. The pangs I suffer dear love. I am certain their opposition is sincere and not for show. I am sure they are faithful and their fury is no poem. I refuse to stay and listen to your insults. Oh please stay. Please stay. Stop molesting us and go. No, no, no, no. Can the answer

be no, no, no? And the answer will be no. That's really telling them. That's dramatic conflict too. The kind of thing you see on the spoken stage and on radio, TV and in opera too. What's so special about opera? Let's take the second half of our experiment and we'll see the same scene done over with Mozart's music and I think the difference will surprise you. My friends it's time you've started. You must be going duty is calling. Destiny has decided. My love is in love in my life. My treasure. The first one of the barges has already departed. Hurry to meet the soldiers who are waiting to escort

you on board. They are getting impatient. Just one last kiss, my darling. I'll die if

I start leaving you, I'll die if I start leaving you, I'll die if I start leaving you, I'll die if I start leaving you, I'll die if I start leaving you, I'll die if I start leaving you, I'll die if I start leaving you, I'll die if I start leaving you, I'll die if I start leaving you, I'll die if I start leaving you, I'll die if I start leaving you, I'll die if I start leaving you, I'll die if I start leaving you, I'll die if I start leaving you, I'll die if I start leaving you, I'll die if I start leaving you, I'll die if I start leaving you, I'll die if I start leaving you, I'll die if I start leaving you, I'll die if I start leaving you, I'll die if I start leaving you, I'll die if I start leaving you, I'll die if I start leaving you, leaving you away. I'll die if I start leaving you, I'll die if I start leaving you. I'll die if I start leaving you. There is no one who knows better how to help you reach a goal.

We are grateful, so greatly honored, At the compliment you paid me, being kind enough to aid me We know God is of my soul. Goodness gracious, holo gracious, that regalia, Those moustaches did make me come for better goal, You're all perhaps a timber tool, The Congo, China, Turkey, Montenegro. Do you think they have some virtue? Though I do that want to hurt you, They're fantastic, far too drastic, And as long as they want to, For one and as soon as not, She's not in her disguises. But a timid dog is not in her position. But I am quite surprised at you. There is no one to fear. There is no one to fear. There is no one to fear. There is no one to fear. There is no one to fear. There is no one to fear. There is no

one to fear. There is no one to fear. There is no one to fear. I am coming. Now you take over and remember, I'll join you later. I was saved, this is the limit. You'll give your position, Who has given you permission To indulge in silly matter With total strangers and common ravels. Put them out, this very name will put them out, this very name will put them out. Will the creatures of the door, nothing less and nothing more, nothing less and nothing more? The lady saw one feeling, every fall your feet are kneeling to her slaves, begging your mercy, that is all we're asking for,

that is all we're asking for. What an outrage, what pretentious, who and for some wish, don't tensions, we are all above all. The last lady saw one feeling, every fall your feet are kneeling to her slaves, begging your mercy, that is all we're asking for. What an outrage, what pretentious, who and for some wish, don't tensions, we are all above all. What an outrage, what pretentious, who and for some wish, don't tensions, we are all above all. And the answer will be no, and the

answer will be no. Mozart's music does make quite a lot of difference, doesn't it? Words that might have sounded exaggerated or extreme when you heard them only spoken, when their song take on a whole new meaning and sometimes a new depth. Think for example of the farewell of the girls, their offices. The girls sounded just farcical in the first farewell when it was spoken, but when they sang it you began to think perhaps they really mean what they sing. And there's something else that you may also have noticed about this, and that is that in opera several people can speak their minds at the same time, and you still can understand them musically. You know what's in their hearts as they speak. Singing is the heart of opera, but it's not the whole story by any means. There are a lot of

other things to think about. The plot for example, then why does it compose a written opera in the first place, when he's finished it, how does an opera house go about putting it on the stage? These are a few of the things I'd like to talk over with you next time. Music Music Music This is NET, National Educational Television.

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