Monthly Archives: November 2011

What is opera?

Many would describe an opera as a play set to music  –  a play in which the characters sing the words rather than speak them.  But that won’t do.  After all, it is usually easier to understand words that are being spoken than to understand them being sung.  So why complicate things by adding music?

Consider first why people sing and when they sing? Songs are used on many occasions  –  when people are happy, when they are sad, when they are in love, when they join together for a common purpose such as a church service, a football match or a protest march and so on.  On these occasions the songs express more than just the words, they also express the singer’s feelings.

Every time a composer sets words to music it is because he or she believes that the music will increase or improve the listener’s understanding of the words: music intensifies the feelings being expressed.

We experience the power of music every day as we watch television.  Almost all programmes are introduced by music, even news and interview programmes.  Its purpose is to set the mood for what is to follow.  In films, soaps and plays, music is often used not only to create the mood for the action taking place but also to suggest what is about to happen, or sometimes to tell us what is really happening although the characters might not be aware of it!  For example, something a character does might be leading to disaster without that character knowing it.  Perhaps he or she is entering a dangerous situation.  Dark, mysterious background music warns us, the audience, of what lies ahead.

Or two young people could be attracted to each other and might even be falling in love, without realising what is happening.  ‘Romantic’ music in the background tells us what they are feeling and could indicate how their friendship will develop.  If, later, we hear the same music, it reminds us of those people and their feelings for each other, and perhaps of that earlier meeting.

Music, then, is able to express feelings in a different way from words alone  –  sometimes more powerfully, sometimes more tenderly, and with a range of feelings between these two extremes.  It is able to create mood and to remind us of past events as well as to suggest what might happen in the future.

In an opera, for all the reasons mentioned, a composer uses music to help tell the story.  But an opera composer is also particularly interested in expressing the private thoughts and feelings of characters as well as their conversations.

Think of it this way: in comics or cartoons an artist often draws a ‘bubble’ above a character in which he writes the words that character is speaking or, sometimes, what the character is thinking.  Now apply a similar process while watching a play or soap.  From time to time, perhaps when the mood is tense, press the pause button.  While the picture is frozen, imagine a bubble over each character.  What words might you put in each – either what the character might be saying or what he or she might be feeling or thinking?  Think what sort of music might be best suited to each.

One thing is almost certain; that a character’s feelings and thoughts will take longer to play and sing than to be spoken.  Music needs time to convey the right message.

In an opera, characters sing to each other (as in conversation or in an argument) but there is often a good deal of singing in which a character is thinking aloud about his or her actions, feelings or behaviour  –  thoughts which, it is pretended, can be heard only by the audience, although there may be other characters on stage at the time.  In a play, a soliloquy is an occasional feature; in opera soliloquies and asides occur frequently and are essential characteristics of the art form.

Sometimes such singing can seem to be extremely ‘unreal’, for example when a character is dying but sings for several minutes about his or her life, the past and, maybe, the future.  In a play such a delay would often be thought to be absurd.  But remember that in opera such musical moments help to give us an understanding of characters.  In real life it is often said that when a person is dying their whole life flashes before them: in opera it takes rather longer!

Unreality  –  the ‘unrealness’ of the story and its characters  –  is a feature common to many operas.  But although an opera might not represent a slice of everyday life as we know it, it will almost certainly be about personal qualities, behaviour and relationships, which we recognise and which are true of people everywhere and at any time in history.  In their different ways nursery rhymes, fairy tales, fables, myths and legends similarly give us examples of how people behave.

Even though some operas are musical treatments of famous plays, poems or novels, an opera is much more than just a play set to music.  Like most plays, an opera has a range of characters and is divided into acts and scenes.  But the music is not something which is simply tagged on: it offers a different way of sharing the emotions and thoughts of individual characters.

Singing, acting, orchestral playing, sets, costumes, make-up and lighting combine to create an intense dramatic experience.  Particularly for the newcomer to opera there is no satisfactory substitute for the live performance where all of these different aspects can be appreciated.   Approaching opera for the first time through just one medium, for example the music alone, inevitably reduces the full intended impact and can dampen the appetite for more.

Surtitles are used in many theatres where opera is regularly performed, but prior knowledge of the story will also enhance enjoyment.

To follow:  Who does what in Opera?

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Filed under Music, Opinions, Thoughts, Uncategorized

At the Water’s Edge 2

Water's Edge 2

See also At the Water’s Edge, At the Water’s Edge 3, At the Water’s Edge 5,  The Water Abstracts, Wave, Wave Abstract, Abstract 101

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Filed under Abstract photos, Colour, Nature, Pattern, Sand, Sea, Shore, Sunlight, Texture, Uncategorized, Water

Cotinus in Autumn

Cotinus in Autumn

See also Shades of Autumn, Forsythia leaves in Autumn, Spectre of Autumn, Lilac leaves pattern, Autumn silhouette

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Filed under Colour, Nature, Pattern, Texture, Trees, Uncategorized

Boat Shed Door

Boat Shed Door

See also Change and Decay:Retired Rudder 

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Why am I doing this?

                ‘I shot an arrow into the air.

                It fell to earth I knew not where.’

As I sat down to write, I recalled these opening lines from Longfellow’s poem The Arrow and the Song.  In the second stanza the poet ‘breathed a song into the air’ with similar uncertainty. Had he been heard?

Blogging is a curious activity.  We write or, in the case of photographs, show whatever we have to offer, then with a click of the mouse away it goes.  Like Longfellow’s arrow, we have no idea where it will land.

Presumably all bloggers at one time or another ask themselves ‘Why am I doing this?’  Many will have good reason: for some it provides a profitable income; for others it is a journal documenting their activities; while some see it as a vehicle through which to express strongly held views.  Indeed, there are probably as many reasons as there are bloggers.

But why am I doing this?

My photos are an invitation to others to see the world through my eyes.  I am fascinated by patterns, shapes and texture, especially in natural objects  –  grass, rocks and pebbles, seaweed, the play of sunlight on water etc.  Often such natural phenomena are passed by without a second thought.  I search them out and enjoy playing with an image to capture and enhance the character of the original.  The aim is to create a picture about rather than a picture of.

The written pieces are more diverse in purpose.  A few introduce the photos; some are autobiographical in the sense of recalling incidents and events from the past;   others offer thoughts based on personal experience. But most use the opportunity to draw together and crystallise my own thinking on the chosen topic (as in this case).  None are intended to pontificate, although in some instances they reflect personal opinion and conviction.  Quotations are used liberally because (a) they are usually succinct, and (b) they are often memorable.

I derive considerable pleasure from the process of creating, but I readily admit that the anonymity of the ‘audience’/the ‘recipients’ (is there a collective noun to describe a group of blog readers?) frustrating.  Musicians and actors meet their audiences; writers have their books reviewed and rub shoulders with their readers at book signings, talks and other literary activities.  Artists usually sell their works to people who appreciate their skill and style.  But the blogger lives in a bubble, adrift from the real world.

Yes, it is pleasing (sometimes exciting) to see the number of ‘views’ grow by the day, but wouldn’t it be nice to know more about the people behind the clicks?  Who are they?  Where are they from?  What are their interests?  What do they think?  How did they stumble upon my blog?  I am sometimes tempted to put a piece in a bottle and cast it into the Channel, just to see if there is life out there.

But before I sound too disillusioned let me return to the last stanza of Longfellow’s poem:

                ‘Long, long afterward, in an oak

                I found the arrow, still unbroken;

                And the song, from beginning to end,

                I found again in the heart of a friend.’

Clearly there is hope yet!

See also About My Photographs, Hello And Welcome, Introducing the Dune Grass photos, The Water Abstracts


Filed under Opinions, Poem, Quotations, Thoughts, Uncategorized

Rock face pattern

Rock face pattern

The incredible patterns and textures of this section of rock face provided the starting point for Abstract 102

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Filed under Abstract photos, Minimalist, Nature, Pattern, Texture, Uncategorized

Lilac leaves pattern

Lilac leaves pattern

See also Shades of Autumn, Forsythia leaves in autumn, Spectre of Autumn, Autumn silhouette, Cotinus in Autumn, Abstract 110 ‘Crazy’


Filed under Abstract photos, Colour, Nature, Pattern, Trees, Uncategorized

Abstract 102 ‘Kaleidoscope’

Abstract 102

See also Abstract 110 ‘Crazy’, Abstract 117

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Walking the plank

Harry Parr was an odd job man who specialised in building repairs  –  simple bricklaying, replacing slates on roofs, fitting  doors, that sort of thing.  He had survived the First World War, innumerable spells of unemployment during the 20’s and 30’s, and had never succeeded in holding on to any job for more than a few weeks.  Life had been tough.

But then came the Second World War and Harry saw his opportunity.  With so many men away on military service there was a need in the local community for someone who could undertake a range of jobs normally performed by the man of the house.  Harry’s career was launched.

He acquired a handcart  –  a flat cart with two large wheels and shafts for pushing.  Boards along two of the sides prevented the spilling of materials and equipment.  A motley collection of second hand tools and an extension ladder capable of reaching to second floor level completed his list.  This was entrepreneurship 1940’s style.

Of course there were occasions when he needed a second pair of hands, a labourer.  Then he would call on the services of Bennie Hartill, better known locally as ‘Peggy’ because of his wooden ‘peg leg’.  Peggy was a less fortunate veteran of the First World War.  Not only had he lost his left leg below the knee, he also suffered bouts of erratic behaviour which made him incapable of regular full-time employment.  Nevertheless, he provided valuable support for Harry when needed, and I recall well one unforgettable occasion.

81 High Street, the house of my childhood, was a tall, slim mid-Victorian building.  It had three storeys and, as was typical of the period, the floor to ceiling height at each level was generous.  Each storey also had two large sash windows opening on to the street.

Harry’s expertise was required when a section of guttering fractured and needed urgent attention.  The task was complicated by the fact that a ladder extending only to two storeys was clearly inadequate.

Harry refused to admit defeat.  He paced up and down, puffed on his Woodbine, and glanced every now and again at the distance between the pavement and the offending gutter.  Suddenly he froze.  An idea had dawned.  He snuffed out his cigarette and marched off down the street with a clear sense of purpose.

He returned a few minutes later accompanied by Peggy.  The pair stood beneath the damaged gutter, Harry gesticulating excitedly as he explained his plan, with Peggy listening, unconvinced, speechless.

Harry then disappeared inside the house with a huge coil of rope draped over his shoulder.   He reappeared shortly at the third storey window immediately beneath the problem.  With the sash window wide open, one end of the rope was lowered to ground level.  There Peggy attached a bag of tools from the handcart.  It was hoisted up, followed next by a replacement section of gutter and then by a plank.  At this point Peggy joined Harry indoors.

The pair emerged at the window and manoeuvred the plank into a seesaw position, the sill acting as the fulcrum.  With Peggy sitting as a counterweight on one end of the plank, Harry carefully crawled out and then rose to his full height with the assurance of a practised wind surfer.  Tools were secured to his belt or hung from various pockets and the length of gutter was looped across his back like William Tell’s quiver.

Quite quickly a groups of onlookers gathered and a collective gasp accompanied Harry’s every move, especially so when he allowed the damaged gutter to fall to the ground.  A spontaneous cheer went up when the job was successfully completed and Harry returned to terra firma.

Of course, Harry rapidly became a character in local folk lore and the story of his derring-do was recounted  –  usually in embellished form  –  in pubs and workplaces throughout the area.

One speculative question was asked time and again; ‘What would have happened had Peggy been taken with a fit of sneezing?’

See also The Hospital Train, A school trip to Arnhem

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Seaweed doodle

Seaweed Doodle

See also Dune Grass images, Seaweed Doodle 2 ‘The Revellers’,

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Filed under Abstract photos, Colour, Imaginings, Minimalist, Nature, Pattern, Shore, Texture, Uncategorized

Patterns under the water 2

Patterns under the water 2

See also Patterns under the water, Patterns under the water 1, The Water Abstracts, Water Abstract, Water Abstract 2, Water Abstract 3, Sunlight on Water

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Filed under Abstract photos, Colour, Nature, Pattern, Sea, Sunlight, Texture, Uncategorized