Wow, vison, you've seen an impressive range of dancers!
LOL, I'd probably have been with the people giving snotty looks!
![Razz :P](./images/smilies/77tongue.gif)
It's very true that much of the plot of operas doesn't make too much sense, realistically (though I think in the case you describe it's plausible enough) - Pratchett's Maskerade makes very funny use of this particular characteristic of operas!
![MrGreen :D](./images/smilies/icon_mrgreen.gif)
Still, people giggling at the wrong places
![Mad :x](./images/smilies/77angry.gif)
- just like people giggling at Gollum's "dialogue"
![Mad :x](./images/smilies/77angry.gif)
!
It's a pity it's so expensive where you are! Here's it's quite ok, especially in the "nosebleeds" (LOL, never heard it called that
![MrGreen :D](./images/smilies/icon_mrgreen.gif)
) it's quite affordable.
I like "shimmering" as a word to describe Mozart's music!
Jude - not sure where you didn't follow, but I'll try.
I was thinking of different styles of opera during the centuries: basically the difference between the clear separation of plot and emotional response/comment in the arias and the later dramatic style that made no such differences. They are essentially different in how they treat the dramatic aspect of the play. But I wouldn't say that only the latter is truly or correctly opera. I also think that both approaches can result in a dramatically coherent piece.
I guess, my point comes from where you said that "Entführung" was "a great leap forward".
If there's a leap forward that means you see a development towards some ultimate aim in opera. As if there was some point to be reached at which opera is perfect, and everything before that is just development and trying things out to find the 'real' thing.
I don't think there is an ultimate aim towards which opera must be heading. I don't think there is one "right" way in which to present a drama with music.
More specifically to the subject:
You said it was a mistake to introduce "Martern aller Arten" with a long orchestral intro, because the aria was a response to the Bassa's cue.
Apparently, you have very tightly defined idea of what a response to a cue should be like, so a deviation from this is to you a mistake.
But I think the intro works very well: not only does it introduce the most heroic answer possible, which is worthy of its own little overture, but I'd also say it works dramatically, in that it gives the character the time to reflect and work up the resolution to make her heroic statement, which is after all more than a defiant snap, but a well thought out and, at least initially, fairly calm argument!
(For anyone wondering what we are talking about:
The heroine is being held prisoner in a Seraglio, and Bassa Selim, who is in love with her, wants her to love him. She refuses, saying she didn't mind being killed for that. He threatens to inflict "tortures of all kinds" (the cue she picks up which makes the title of the aria). After some thought/the intro, she replies that tortures of all kinds may be in store for her, but that she laughs at pain and was only afraid of being disloyal to her beloved, that if the Bassa would let her go she'd pray for heaven's blessings on him, but as he was determined, let him do what he want, death at last would set her free.)
I love love love the music from Die Zauberflöte and La Clemenza di Tito.
That's good to hear!
![MrGreen :D](./images/smilies/icon_mrgreen.gif)
They
are two pieces that provoke discussion, so I look forward to hearing your issues!
![Smile :)](./images/smilies/77smile.gif)