-Mary Jane Matz, Opera: Grand and Not So Grand

Opera was originally a pure art, surviving on subsidies from royalty, nobility, and aristocracy. But with the opening of the first public opera house in Venice in 1637, opera has gradually become a marketable commodity, competing with popular entertainments. Today, this art form carries numerous stereotypes that mildly retard the spreading of its popularity. Younger generations often perceive opera as an activity appreciated by the wealthier and older population. Classical music in general, has somewhat lost its foothold on younger kids, who no longer hold much of an appreciation for the art.

Opera today is facing the problem of continuous change. Historically, opera was physically distinguished as a landmark. Yet today, many of these houses no longer exist. Many have been demolished, while others have been renovated into houses, supermarkets, garages, or office buildings. Another aspect of change involves the content of the opera itself. Originally, opera was serious and grand. It has since evolved, a

Simon, Henry W. Festival of Opera Hanover House, New York; 1957.

Though one could argue the latter as another strong theme present in Romeo et Juliette, the main theme is undoubtedly the age-old lesson that love is blind and knows no boundaries. It is the classic tale of forbidden love and desires. Act I draws upon the apparent naive and blissful existence of the Capulets and the Montagues. Their worlds have coexisted while managing to keep their intimate worlds apart. It is during this merry and festive movement that the young Montague crosses that fine line which stands between the two families. Ultimately, Act I is the last time such positive music is used. Even during Act II, the couple's young love is tainted by the hopelessness of their situation. From this point on, throughout Acts III and IV, the music takes a turn to dramatic and emotional, morose and despairing tones. The music and drama spin through several climatic events, including their marriage, the duel which leave Mercutio and Tybalt dead, and the exile of Romeo from Verona. Yet the climax of the piece is in the final scene, where the young couple sing a duet, having overcome the blood of Tybalt on Romeos hands, and (temporarily) the conflict which divides their families so deeply. The music once again becomes bright and uplifting with the mesmerizing blend of her soprano and his tenor. The audience is tentatively assured that love will indeed conquer all. Yet it is when Romeo hears the morning lark that the truth brings the audience back

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Approximate Word count = 1043
Approximate Pages = 4 (250 words per page double spaced)