This movie review featuring the 2008 Opera Kommilitonen! is geared toward adults, both young and established, who have a passion for opera. Kommilitonen! appeals to passionate opera-lovers because of its unique style; it is unlike other modern American operas, harmonically brilliant and marvelously lyrical. "The music," comments composer Peter Davies, "is brash and brassy." Unlike many of its' bland cousins, Kommilitonen! utilizes "pentatonic phrases" and "restless atonal harmonies" -- these unique qualities help the opera to go somewhere. The author states, "The way the opera cuts continually from one group of characters to another lends the work cinematic vibrancy." The cinematic vibrancy referred to helps the reader grasp the idea that Kommilitonen! is on a very different level than its predecessors. This comparison to a movie characteristic reveals the smoothness and developed plot that makes the opera so unique. The mention of the quality "cinematic vibrancy" is used to draw in younger opera-viewers; those who are less traditional would enjoy viewing an opera that is formatted similarly to a movie. Because this review purposes to expose the opera's unique nature, the author [of the review] opens the piece by dwelling on its unrivaled characteristics, namely a "demanding score" and its' "incisive, colorful performance." After the author has grabbed the audience' attention, he provides a brief synopsis which further pulls them in through the mention of various Chinese and Communist elements. Finally the author concludes with the current movements, specifically the Occupy Wall Street, that connect to Kommilitonen!. This "current events connection" allows the readers, who might otherwise feel distant from the opera's plot, to relate. The review's positive representation of Kommilitonen! leaves readers, particularly those whose interest lies in opera, wanting to see it. All in all, the atypical brilliant nature of this new opera is presented in an appealing way to opera-loving audiences, sparking their interest through the use of music terminology and a reinforcing structure.
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I agree with your points, addressing the fact that the author supported the opera. His examples of descriptive words ("pentatonic phrases" and "cinematic vibrancy") create appeal to several different audiences, and I agree with, if I read this, then it would appeal to me. The details that address the different audiences ("...young and established..." and "...passionate opera-lovers...") is supported by various examples, including the comparisons of its background with current news (Occupy Wall Street) and old news (Chinese and Communism) that influence the music. Andrea's support of the author's musical terminology and structure of grabbing the reader and keeping them entranced has an effective response from the audience. This response is sparked by the various ways that the author connects the opera with the reader, whether through history examples or the terminology of music to grab the attention of music-lovers all around. When the author begins to compare the opera to a cinema, Andrea says, "This comparison to a movie characteristic reveals the smoothness and developed plot that makes the opera so unique." Andrea supports this statement further by stating that this appeals to "younger" audiences, not just established ones.
ReplyDelete-Sara Mulryan