Imagine the following operatic scene: two singers formerly staged as a royal couple arrive at a peasant wedding in disguise, still obviously the same couple, and singing loudly about issues pertaining to royalty. Dramatically, how does the audience justify such a seemingly ridiculous situation on stage?
What will be an ideal response?
Opera, like other forms of theatre, requires that the audience "lose themselves" in the drama and accept the seemingly impossible things that are happening on stage. This is not unlike a good movie in which the viewer forgets about the famous actor on screen and instead embraces the personality of the character being portrayed.
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Which German composer was a protégé of Rossini and a master of grand opéra?
a) Giacomo Meyerbeer b) Jacques-François-Fromental-Elie Halévey c) Daniel-François-Esprit Auber d) Gaspare Spontini
Study the list of gamelan instruments in WOM, pp. 219 and their accompanying illustrations in Fig. 7-2. p. 218. What four categories of instruments are usually found in gamelan ensembles?
What will be an ideal response?