[Book Selection Exploration: "Ah," the One Destined for Me] "Opera Syndrome: A Feast of Love and Death" by Masahiko Shimada (NHK Books)
Catchphrase: Takahiro Okubo
[ Content ]
Flashy stages, magnificent costumes, bizarre stories, soul-stirring music, and the voices of singers pouring out their raw passions—.
Born in Italy 400 years ago, opera continues to reign supreme in the world today as the "ultimate comprehensive art form" and the "king of entertainment."
There, you can savor the luxurious and gorgeous atmosphere like royalty, enjoy the formal beauty, or shed tears at the end of a cruel tragedy.
There is no correct way to watch opera.
No, every way is correct.
This is an introductory yet definitive treatise on opera, written by a biased enthusiast who even goes so far as to call it "the greatest game worth risking your life for."
[ Table of Contents ]
Chapter 1: The True Identity of Don Giovanni - Mozart's "Don Giovanni"
Chapter 2: The Napoleon of the Music World - Rossini's "The Italian Girl in Algiers" and "Il viaggio a Reims"
Chapter 3: The Transcendental Technique of Divas - Donizetti's "Lucia di Lammermoor" and Bellini's "Norma"
Chapter 4: Hopeless Macho Opera - Verdi's "Il Trovatore" and "La forza del destino"
Chapter 5: The Villain Who Manipulates the Protagonist - Verdi's "Otello"
Chapter 6: Supreme Hypnosis - Wagner's "Tristan und Isolde"
Chapter 7: The Story of "Madame Butterfly" and Her Son - Puccini's "Madama Butterfly"
Chapter 8: Perfect Mannerism - R. Strauss's "Der Rosenkavalier"
Chapter 9: Everything is Permitted in Opera - Shostakovich's "Lady Macbeth of the Mtsensk District"
[ Problem Statement ]
The author defines opera as "a 'cultural fortress' that condenses the joys and sorrows that humans experience throughout their lives into a few hours."
This book is a written version of an opera introductory program for which the author served as a guide.
An aesthetic sense of "this is how I would direct it" permeates the entire work.
It is definitely more interesting than difficult philosophical critiques.
[ Conclusion ]
Chapter 1 is "The True Identity of Don Giovanni."
While unraveling the mysteries contained in this masterpiece, the author also approaches the true identity of the composer, Mozart.
Starting with the explanation of why the number of women Don Giovanni sings of having conquered is overwhelmingly high in Spain and zero in England and the Netherlands, one is drawn into the fact that Mozart incorporated allegories into various scenes of his music.
Up to the final ninth chapter, the author introduces great composers and their representative works in chronological order, while incorporating various devices.
For example, readers will be surprised by the fact that the Italian Verdi and the German Wagner were the same age.
While the former was driving the masses toward an independence movement with "macho" operas, the latter's "music like a love potion" was eroding the spirits of kings and the philosopher Nietzsche.
The way opera is positioned within the flow of world history and literature feels like viewing a picture scroll of "love and death" woven by humanity.
The charm of Rossini's lightness and the transcendental technique of Donizetti and Bellini's prima donnas are also fascinating.
Also, why is Wagner's music illogical, sluggish, sleep-inducing, lazy, decadent, and emotional?
And the explanation that the very act of becoming sleepy is the pleasure of listening to Wagner, and that "Tristan" is the symbol of this, is something I completely agree with.
In other words, Wagner's "Tristan und Isolde" is a "musical love potion" and "supreme hypnosis," and the endlessly continuing duet of the two and the infinite scale organize the unconscious hidden in the depths of human beings, transcending mere sexual love; that is why listening to Tristan makes you sleepy, it seems—I think I understand, but I don't quite get it.
A book full of fun, such as the embarrassment of peeking into the bedroom in the first act of "Der Rosenkavalier" and the colorful charm of the music of "Madama Butterfly."
In particular, what is interesting is Puccini's "Madama Butterfly."
Opera itself is so popular that one can simply get intoxicated by its beautiful melodies and tragedies, but my hobby grew to the point where I learned vocal music and wrote the libretto for the grand opera 'Chushingura'.
Inspired by this, the author teamed up with Shigeaki Saegusa to create a second work, 'Jr. Butterfly,' which is a sequel to Puccini's 'Madama Butterfly'.
Madame Butterfly's orphaned child faces the atomic bombing.
'The setting of the main story is Nagasaki.
Seeing the heroine trampled by an American officer, we cannot help but superimpose the tragedy that struck the next generation.
The fact that Japanese men were behaving in the same way in Southeast Asia as well'
The work is immutable, but the audience's thoughts are always new.
That is said to be the true thrill of opera.
'Jr. ...' was also performed in Italy under his own direction.
'In terms of cutting words and emphasizing resonance, writing a libretto is close to writing poetry.
Staging is similar to writing a novel in the sense that it moves the characters.'
However, while writing is a solitary act, directing is a complicated collaborative effort.
Moving back and forth between the two like a pendulum.
Perhaps that extremity is what can be called operatic.
Taking emotions to the extreme.
'Next, I would definitely like to write a comedy.'
[ Comment ]
Furthermore, to read this book with amusement, I think it is better to watch the relevant works once or twice first.
This is because you will be able to grin as you understand what the author is trying to say.
[ Bonus: Today's Tanka ]
'Wishing to be loved by this country, I find myself buying a book of poetry at the bookstore'
Seiko Yarimizu, 'Midwinter Russia' ('Tankajin', July 2018 issue)
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