The Flying Dutchm Drama Over The Emotional Transparency

Orchestrally, it is scored for strings, timpani, bass drum, cymbals, two flutes, one piccolo, two oboes, one English horn, two clarinets, two bassoons, four French horns, two trumpets, three trombones, two harps, and one cimbasso. Musically, this opera is very directly vigorous. It sticks to the widely used concepts of arias, duets, finales, and choruses. His fine music often excused the glaring faults in character and plot lines.

I was much more fond of the symphony music played by Mozart, although there was not much featured in the movie. I am not a big fan of Opera’s to begin with, so I am a little biased when judging them. I found Don Giovanni and the Opera written alongside Salieri more preferential; there was more substance and feeling in those. The opera Figaro to be extremely boring; apparently so did Joseph II. It was extremely slow with the same dark melody the whole piece. I most enjoyed the first Opera commissioned by Emperor Joseph II. The whole piece was brilliantly put together, I can’t imagine how someone could put all those notes together and make is sound like it did. It reminds me of listening to Jimi Hendrix on the guitar, or Bach on the Harpsichord.

A fear of empathy dictates one’s ability to achieve true redemption. This is proven many times throughout the novel, “The Kite Runner” by Khaled Hosseini. The character of Amir often struggles to allow people to both feel for him and to allow himself to feel for others. While the characters Hassan shares similar problems, they have different causations and solution. They both fear experiencing empathy in the beginning, effectively hindering their ability to progress appropriately. However, while Hassan is eventually able to accept his and other people’s feeling of empathy, Amir continues to fight against them, letting his fear control his life. This is shown when Amir fights against a relationship with both Baba and Hassan, while Hassan

In the Kite Runner, deception is one of the main plot points that improve the story and characters. Deception is used to progress the book so that Amir, the main character, travels back to Afghanistan after being in America and is where the most memorable things happen in the book. In the book the deception make the main plot points of the story, is the driving force for why everything is happening, and is what made Kite Runner good.

The novel didn’t really have the best satisfaction between characters, its atmosphere was really awkward, unsettling and funny at times; it is basically a mix of all that. I felt there was no connection between Andy, Connor and Kajsa, and Ethan for the majority of the novel. The three got along well, and Ethan didn’t, which made things awkward in a minute. Ethan wouldn’t help out in setting up tents/putting tents down (“You have to help break camp,” Andy said sternly. “I have to do nothing I don’t want to do,” I replied. “But we’re a team,” Kajsa said. “We’re a team?” I said. “I’m not wearing any uniform. I didn’t join any team” 117; 20-25). Ethan would also play mind games at times, chapter fifteen is an excellent chapter to see how Ethan

do the opera in German. This was seen as unmoral cause all opera’s were in Italian. Also

Oratorio and cantata were two genres that re-emerged in the first half of the eighteenth century. They were already important musical alternatives to opera by the mid-seventeenth century, but differed in nearly every respect from the genres of the same names found in the early eighteenth century. As genres late in the period, they both bespoke the traditions from which they originally sprang and permitted new recombination of the musical elements of these same traditions.

Singspeil refers to a type of opera in the German language, which was rare in these days. German is a very rough language when compared to the typical language that opera was performed in: Italian. Typically, a Singspeil was very comical in tone and nature, yet in the hands of Mozart, it was transformed into a more serious performance. Mozart’s work, The Magic Flute, is probably the most well-known singspeil. A non-Mozart Singspeil composer is Johann Adam

As stated by Burkholder, Grout and Palisca, Weber’s Der Freischutz’s “rustic choruses, marches, dances and airs”; multisectional aria form (influence from Rossini) and florid vocal lines were all common characteristics of the Italian Opera. Meanwhile in Verdi’s Otello, Wagnerian influence could be seen. Verdi used melodic motives to show the characters’ emotions. In Act 4 scene 3, the orchestra was used to heighten the dramatic moment instead of the voice, which was a breakthrough in the history of Italian Opera. It is apparent that both Italians and Germans knew how to blend the musical elements and text well to demonstrate the Romantic traits in their opera.

There are many thoughts that come to mind when stating the novel Kite Runner, written by (Khaled Housseini), and this is the main reason that may lead one to read this beautiful work of art. On the other hand the movie Gladiator was also a wonderful masterpiece directed by the wonderful mind of (David Franzoni). The main hastle to attack in this section is the theme "Perosnal Liberation" in comparison to Kite Runner and Gladiator, personal Liberation is conspicious in both the novel and the movie. When one defines Personal Liberation, It comes to one word “Freedom”. The novel Kite runner and Gladiator the movie, in accordance to the theme “personal liberation”give the message that there are three aspects of connections that make it perceptible, and they are as follows: Freedom, Hero, and Devotion.

There were also stricter demands of the solo singers. The two mid eighteenth century composers, Jomelli and Traetta played a big part in the reform of Italian opera in the late 18th century by influencing the French towards opera of a more international flavour.

No longer was the orchestra the main component to listen to when attending an opera. Librettists and composers worked extremely close to get the right feel for arias and other pieces in the story.

The first roots of modern opera first appeared in Italy in the 17th century from the Camerata (an academy of Florentine poets, musicians, and scholars). The Camerata, inspired by ancient Greek drama, sung dialogues and choruses which were accompanied by musical instruments. The Camerata developed the “stile recitative,” in order to integrate drama, action, dialogue and narration. In this “sung speech,” a singer delivered a recitative melody with an actor’s dramatic and oratorical skills, achieving the goal of providing

In The Interpretation of Music, Thurston Dart writes: 'it is very unlikely that any vibrato was used in the ensemble singing of earlier times; the few theorists who mention it condemn it' (51). In light of the intricate counterpoint employed by Renaissance and late medieval composers, it is natural that clear intonation would have been vital to the clarity of their multi-voiced compositions. David Wulstan suggests that in singing the decorated Baroque songs, singers surely had to provide contrast between trilled and untrilled notes: 'Baroque singers could hardly have sung in such a way that trills were indistinguishable from the surrounding gelatinous wobble' (179). Singers today, in an effort to project their voices in huge performance venues have to use their voice in way that produces, in most cases, a large vibrato. Large vibratos can make it difficult, at times, to hear a distinct pitch, and therefore trills (alternating quickly between two adjacent pitches) are also difficult to hear. Thus, it is easy to idealize a pure vocal quality so that there is a clear contrast between trilled and untrilled notes. Contrast is, after all, one defining characteristic of Baroque era musicÑthus, the amateur assumption has a reasonable basis.

The composer of Turandot is Giacomo Antonio Domenico Michele Secondo Maria Puccini, who was born on December 28, 1858 in the small town of Lucca Italy. Puccini came from 5 generations of musicians and began writing operas at the age of 21. His realistic verismo style, which means truth or reality in Italian, allowed him to identify with his characters in a realistic way and his operas reflect real life situations. Puccini liked to write operas with heroines rather than heroes. His operas almost always include a death for the sake of love. Despite his operatic genius, Puccini only wrote ten operas in his lifetime. He died on November 22, 1924 at the age of 66. At the time of his death, he was only one act short of completing Turandot. His close friend and fellow composer, Arturo Toscanini, finished Turandot shortly after his death. Puccini has been referred to by many critics as "the greatest composer of Italian opera after Verdi" (Brittanica.com).