APPENDIX 2 - A masterclass in opera, for those who love it or hate it

Summary

It is somewhat unusual in literature to repeat the whole content of a book again at the close. This appendix, however, is not meant to be literature. Instead, the content of this book is here offered in the form of a theatrical text, as a masterclass for the audience in the ‘crafty art of opera’ – whose fullest effect can be felt only on the stage itself.

I have presented this kind of masterclass in many different countries and in several different languages to audiences that loved opera, but understood little of it and were keen to know more. They reacted everywhere with utter delight. So perhaps this is also a way to turn opera-haters into opera-lovers.

My purpose in presenting this masterclass in written form is to prompt as many theatres as possible to stage it. Opera lovers (and haters) can also follow the below text while listening to a good recording of Figaro – preferably accompanied by a glass of fine red wine.

Introduction: Figaro, Overture

Hampe [rushes in, interrupting the music]: Stop! … hold on please … stop!!! I'm quite out of breath. Why? Because we're in a crazy day – La folle journee, Le marriage de Figaro, we're at Figaro's wedding where all events come tumbling one after another. So it's impossible to keep up with them.

As you've no doubt heard, opera means telling a story in music – no, not ‘telling’, ‘enacting’. ‘Favola per musica’ or ‘dramma per musica’ – a ‘tale for music’ or ‘drama for music’ – were the names of this new art form when it emerged in Florence 400 years ago. So let's first see how Mozart depicts this ‘crazy day’ in music, right at the start of the overture. For that, however, I need your help. You have to count the measures – don't worry, it won't be more than ten, and you can use your fingers to help you. Yes, you can! So let's go.