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Naruyoshi Kikuchi × Oracle of Messenia
For those who have no interest in baroque, opera, Vivaldi, or even classical music.
Naruyoshi Kikuchi (musician/writer)
``However, at least for most people who were born up until the 20th century...'' I would like to say that, but I know that even that is at risk these days, so I continue on with a stumbling block, especially in ``Shiki''. If you listen to the beginning of the ``Spring'' part, I'm sure many people will say, ``Oh, I've heard it before. It was on Educational TV.''
In fact, for most Japanese people, Vivaldi was a person who was like, "Cha-chan-cha-la-la-la. Cha-chan-chan-cha-la-la-la." Even if that were the case, it wouldn't interfere with his later life. I have no intention of threatening you by saying, ``If you don't know more, you will suffer a great loss.''
Moreover, in addition to the composer (who is quite prolific, it is amazing in many ways that ``Spring'' is the only one that is so famous, even though it is ``classical''). (The Four Seasons is a violin concerto, after all.) Vivaldi was a clergyman, a conservatory teacher, and, if I may force it, a popular producer, in his later years (1738, 60 years old -- he died at 63 years old). Age---Incidentally, he wrote "The Four Seasons" when he was 47 years old.There are many great people from the 18th century who lived long lives, like people from the 20th century, such as the Marquis de Sade at 74 years old, Goethe at 83 years old, and Newton. (who lived to be 85 years old), and what is "Baroque Opera"? We're talking a lot, aren't we?
Despite the abundance of art and entertainment, the 20th century hobby of "multiple hobbies" has become like the activities of the ancients, and the things that people are addicted to are becoming localized and religious, and the things that they are not into are becoming more and more localized and religious. People who are addicted to it don't understand. In this era, ``In the opera world at the time, the Venetian school was beginning to be pushed down by the rise of the Neapolitan school, and Vivaldi, the representative of the Venetian school, whose popularity began to decline, abandoned his homeland and aimed to perform his own works in Vienna, but he lost patronage. Due to the death of Charles VI, Austria went into a one-year period of mourning, and the performance was canceled, and then a war of succession broke out in Austria due to the succession of the famous Maria Theresa to the throne, and it is said that the failure of this war led to the death of the baroque opera. ``The Oracle of Messenia'' will be premiered in Japan! World premiere as a staged performance!! Messenia will be freed from the two monsters!!! With bravery and anger, the monsters will be killed. "Ugh! And the winner will marry a captive with royal blood!", but I don't know. I didn't understand what you were saying at the end. The punchline may be that you will be scoffed at.
However, that's true. To put it simply, this is interesting. Quite.
When you turn on the TV in the middle of the night for "Opera," you'll see a commercial saying something like "Performance at XXX Hall," right? It's like Takarazuka, where people wearing tights go crazy. Oh, is that ballet? picture? What is the difference between ballet and opera? Well, it doesn't matter either way. That's you. It's like a fusion of opera and ballet that you have in your head, and it's mostly from the 19th century. The Messenian Oracle is a work from the first half of the 18th century.
Many people may ask, "What's the difference between the 19th century and the 20th century?" Of course, many things are dramatically different, but if I had to pick a strong hook, it would be that, first of all, there was no such thing as copyright in music in the 18th century. Is not it amazing? Just imagine for a moment. World opera without copyright.
In that case, what happens to baroque operas is that in addition to the originals, they arbitrarily compile hit songs from the time (lol). I couldn't help but laugh, but it's crazy. Not to mention the composer himself, the theater manager and the director all discuss it, and even though it's someone else's opera, we end up adding a little bit of it, saying, ``That's a good song.'' (In the first place, the music score for Messenia has been lost, so I'm reproducing it from my imagination. In a sense, it's a mess, isn't it?)
This alone is quite strange. Pre-modern times are ``slightly'' different from our sense of the world, rather than being ``completely different to begin with and yet still having some universality'' like ancient times, they are ``slightly'' different. That's right. That's what makes Strange so bold and fresh.
The format I mentioned earlier is called ``pasticcio,'' but people who want to protect the authority of old things often refer to it as a ``collaboration'' (though there is an aspect of it). In other words, I'm a DJ. It's like, ``I'm going to get bored, so I'm going to put this song on,'' and I keep putting it together myself (in advance, of course). And since I put it together myself, it's my own song. That's how people thought about copyright, or rather, back in the day when there was no concept of rights in music.
Moreover, to put it in technical terms, the song sung there is ``da capo aria sung by a castrato.''
A "castrato" is a castrated male singer (of course they don't exist today, but they are countertenors, men who are born with a high voice or have special skills.For example, in "Princess Mononoke") , that person). This has been made into a movie, and in the first place there were various castration cultures in pre-modern times (not punishments, but special occupations that gained status and ability by doing so), such as eunuchs in China and Rakiri in Japan. , I'm sure there are many people who are interested in it, as it covers a lot of the subject matter of manga. The fact that she is a singer is amazing, but ``The Oracle of Messenia'' is a work from the period when castratos were most active in Italian baroque opera. Rather than being a spectacle like later operas, where the dramaturgy of the story is the main focus (the prototype for movies), it is performance-oriented.
What do you think? For you, Vivaldi was only associated with ``Spring'' of the ``Four Seasons'', but I think your image has changed considerably.
And then there's "Da Capo Aria," which is in sonata form, with ABA and A appearing twice, but the A that repeats after the chorus has to be improvised and changed a little. (Well, there's a theory that it's boring if you don't change it, haha). This is also different if you imagine it like jazz improvisation, but to be honest, when you say that the thrill of improvisation is added to the conclusion of a traditional performing art that seems to be quite formal, to be honest, at first glance you might think, Even if you do, you won't understand it right away.''
When you play as a geisha for the first time and someone says, ``I'll leave it to you from one dance to the next,'' I think it's like, ``Huh, I guess that's true,'' and that's what's so cool about it. mosquito. In Kabuki, I don't understand what is being said from beginning to end. There are a few modern words that come up in the middle, but it's still quite interesting. Otherwise, it wouldn't have been so popular. (By the way, when The Oracle of Messenia was premiered, Kabuki was in the Kyoho-Kansei era, and the hanamichi, elevated stage, and revolving stage had just been created.) is).
In short, this is what it is. ``The Oracle of Messenia'' is at least a century different from opera and ballet, which are so gorgeous and the make-up is perfect, and you can imagine the feeling of fans. Yes. But the difference is subtly good.
I have many hobbies, and I like Kabuki, grand opera, modern music, opera from the turn of the 20th century, sumo, Takarazuka, mixed martial arts, hip-hop, eating and drinking, movies, and yoga. I think it's easier for people who are "Pass" to get into Baroque opera. That's what I think. I mean, I think it's interesting now. I think so. Before the 19th century, I mean. The art and entertainment of the 20th century were very much influenced by the 19th century.
I'm sorry to say this, but don't you think that Yoshiba was also bored? Even so, being bored with things from the 19th century or later has a very different effect on your mind and body than being bored with things from before the 18th century.
Don't you find yourself surprised when someone you know becomes addicted to something unbelievable? That person suddenly became addicted to Johnny's music, that person suddenly became addicted to K-POP, and that girl became addicted to boat racing. It's not just your acquaintances, even you, there is always a possibility that this will happen. As someone with many hobbies, I feel like it's a waste. It's just an opportunity. At times like this, we tend to avoid things that have already been created.
In my opinion, idols in the 21st century probably don't get into it because they don't have a chance to do it. However, if you watch ``Idols from before the 18th century,'' you might get mad and start being a 48-line fan all at once. ``I don't have a fixed image, it's from centuries ago.'' I think this is modern freshness.
What's more, Vivaldi, who I once had an image of, is actually like this. I think it's quite interesting because it includes gaps. Lastly, I would like to emphasize that there is some serious fruit in this performance, but even for experts, this is a very valuable and meaningful performance. Why not come and take it easy? It may change your life (though it may not).
Masahiko Shimada × Otero
hero's jealousy
Masahiko Shimada (novelist)
Many years have passed since Aida premiered in 1871 and Requiem premiered three years later, and it was rumored that the desire to create was diminishing due to aging. Otello was published in 887. This long-term plan was apparently called the "Chocolate Plan" because of the color of Otello's skin.
Shakespeare's original work was a flood of words, and by layering elaborate lines, he conveyed to the audience the complex mysteries of human psychology. In opera, 80% of the words were removed, and the music took over the psychological portrayal. The music is many times more eloquent than the accompaniment music of movies and dramas.
There are many famous scenes and memorable moments, but Otello's battle cry of victory, ``Hello!'' (Ruby Esultate), is a very short phrase, but it has become a touchstone for Otello's singing. Next, while a victory banquet is being held, Iago, the standard bearer, is jealous of Cassio, his lieutenant, and devises a trick to get Cassio drunk and cause a fight. Here, Iago sings a ``Cheers Song,'' but unlike the famous ``Cheers Song'' from La Traviata, it is a strange chromatic melody that induces intoxication. A drunken Cassio gets into an argument with the former governor, Montano, and Otello reappears to reprimand him. The banquet disappears, leaving only Otello and his wife Desdemona, and a duet, ``The Dark Night Has Ended,'' is sung. Although the song is about the joy of love and confirms the mutual trust between a husband and wife, the music is filled with anxiety. Signs of the tragedy to come are echoed everywhere. In his later years, Verdi was influenced by Wagner, who was born in the same year, and incorporated his characteristic harmonies into his own compositions. This duet is one of the results of that effort.
Act two. When Cassio is dismissed as his deputy, Iago suggests that he consult Desdemona and ask Otello to intercede. It is in these two acts that the entirety of Iago's complex scheme is enacted. In his baritone aria masterpiece ``Credo,'' Iago sings, ``Everyone is a play of evil fate,'' secretly confessing to the audience his diabolical schemes. The audience is shown how the situation unfolds according to Iago's scenario. If Otello is the protagonist, Iago is the director, and the entire opera has a play-within-a-play structure.
In Shakespeare's original play ``Othello,'' there is no monologue by Iago that rivals this aria. This is the original version of the opera, and here you can see Verdi's deep feelings for Iago. In fact, Rossini had a work with the same name, ``Otello,'' and Verdi, who respected Rossini, was very hesitant to create a second version of his work. Perhaps because of this, the portrayal of Iago is packed with power, and this work has a structure that could be called an opera, ``Iago.'' The music is not a melody, but rather a rather fragmented song that literally depicts the refraction of the mind of the protagonist.
In the third act, Otello completely falls for Iago's trick. A group of messengers arrive from Venice, and at the reception, Otello is told that he is returning to Venice, and Cassio's name is proposed as his successor as governor. At this point, Otello loses himself with jealousy and publicly insults Desdemona, causing him to faint from anger. Otello, who was supposed to be a hero among heroes, believes the fabricated stories of his subordinates and reveals his naive true nature as he goes crazy with jealousy. Desdemona suffers from a sense of discrimination as a Moor, believing that she doesn't really love him and can only be open to Cassio, who is from her hometown. Anyone who knows the closed-minded nature of Venetians, who are cold towards outsiders and only open to their own people, will understand Otello's suspicions.
And then there's the fourth act. The time of catastrophe approaches. Desdemona is about to fall asleep. He is terrified by Otello's behavior over the past few days, and has a feeling that he will be killed. He tells his maid, Emilia, that if he dies, he wants her to wear a bridal gown. The songs sung here are one of the most famous soprano arias, ``The Willow Song,'' followed by ``Ave Maria.'' Desdemona's saintly character stands out as she tries to maintain peace of mind even though she has a premonition of death.
Iago's plot scenario ends with Otello strangling Desdemona. Emilia discovers Desdemona's body and calls for people in a panic. When it becomes clear that the whole thing was a trap set by Iago, Otello despairs, laments the tragedy in his final aria (The Death of Otello), confesses his penance to Desdemona, and then commits suicide.
By the way, opera singers can only be active for so long. In particular, tenor singers' peak years are short, and they can remain in stardom for about 20 years. Even though he rose to prominence when he was young, it took him several years to win a leading role at a prestigious opera house, and he continued to build up his career while paying close attention to maintaining his voice, but he was now in his fifties. His voice started to become a little dark. He continues to be active, making up for this with his technique, but once he reaches the age of 60, he must hand over his role to someone who comes after him.
The light and bright voice of his youth becomes heavier and darker with age, so towards the end of his career, he attempts the title role in ``Otello'' in an attempt to bloom one last time, but this case was a great success. is rare. Even Pavarotti didn't get the kind of applause he got when he sang the high C aria of "Il Trovatore."
A tenor singer who is allowed to sing ``Otello'' is considered the King of Tenors, because there are very few people with voices suitable for this role. However, once he gains a reputation as an ``Otello'' singer, he may be able to maintain that throne for ten years. Not so long ago, it was Jose Cura, twenty years ago, Plácido Domingo, and fifty years ago, it was Mario del Monaco. Del Monaco was given the title of ``unparalleled Otello singer.'' It is no exaggeration to say that his voice, which has been described as a "golden trumpet," was born to sing Otello.
Otello, along with Don Alvaro in "The Force of Fate," is a role where he can demonstrate his true potential as a tenor dramatic, and because he is required to entrust his voice with gushing passion, his voice is not so wild that it is almost baritone-like. I can't sing it. Although there are no difficult high notes in terms of pitch, dramatic expression is required to express complex figures. It requires rich midrange and low tones, and the baritone has to produce the long tones of high A and high B, which is difficult for a baritone to do, making it difficult to compete with tenors who are good at Alfredo in La Traviata, Puccini, and Mozart. be.
Del Monaco's famous performance can be seen in the footage of his performance of ``Otello'' at the Tokyo Takarazuka Theater (1959). At the moment when Otello appears and sings the victory cry like a fanfare, the footage shows that the chorus singers around him are overwhelmed and stunned. No singer has ever surpassed Del Monaco, who roared out with his eyes wide open and his voice at its peak.
If a baritone who competes with the King of Tenors is not cast, the dramatic effect of ``Otello'' will be halved. Bad people are often more complex on the inside than good people, so a high level of expressiveness is required to make the audience understand their feelings and plans. They must have an aura that makes their leading role stand out, that attracts the audience, and that they also have an evil charm, and a performer who possesses both of these qualities becomes a rarity. It is impossible to exclude the name of Tito Goppi, who sang Iago in the recent performance of Del Monaco's ``Otello'' in Japan. His dark, deep voice and devilish gaze that bewitched the audience are still talked about to this day.
If you can see three versions of Otello, the best of that era, during your lifetime, you will be truly blessed as an opera fan. I've only seen two so far.
Yoshiharu Ebisu’s newly written four-panel comic “Opera”
Manga artist Yoshiyoshi Ebisu has drawn a new four-panel comic with an opera theme.
[Bonus] Souvenir gift from Parma, Italy
<This recruitment has ended. ＞
One person will receive a souvenir from Parma, Italy, the home of the Europa Galante led by Fabio Biondi, the musical director of The Oracle of Messenia, and the birthplace of Verdi, the composer of Otello. Souvenirs from Parma, which is also famous as the capital of art,
Violet soap & Otello pencil and eraser set.
The violet flower, which is also known as Napoleon's favorite flower, was brought to Paloma by his second wife Marie Louise when she ruled Paloma.
This flower, which can be seen as a symbol of the cultural encounter between France and Italy, is so loved that it is even now used as a motif on souvenirs.
If you would like to receive a gift, please refer to the application summary below.
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