Underappreciated

While it was often difficult finding recordings that seemed as good as different opera memories, for many of the passages there was at least a lot to choose from. There were three pieces that were more difficult.

For those, it was usually that something that struck me was not the main attraction of the opera, or even that part of the opera.

For example, there is a bird leitmotif in Wagner's Ring Cycle. I am not a huge fan of Wagner, but those are some clear pure notes. They have specific significance in the opera that is important, but on their own I still find them very beautiful.

If I had picked any section of the music containing the bird song, it would probably have been lost, but by itself it is just 15 seconds:

https://www.youtube.com/watch?v=j7oWFOiz2FU

And, it is probably the way in which it interacts with the rest of the music that gives that tiny bit its power, so perhaps having it stand alone doesn't work. At least that is something that people who study opera generally agree is important, though even then they may group it with all the other leitmotif and how it is used. I am just saying that it's pretty.

My other longstanding grievance has been with me since February 1998, in that there is just not enough respect for how beautiful “Ah Paraseusse Fille” is in Faust.

Again, it is being used for the contrast. While Faust is bitterly lamenting his old age and wasted life, the chorus is singing of a beautiful dawn. It is not just that they find the world beautiful instead of disappointing, but also that this day is just beginning. Effective, yes, but it stands so well on its own too, and you never hear it on its own. If you get an opera highlights CD, it is all about the arias. The chorus matters too. I would love to see “Ah Paraseusse Fille” get more attention, and some better recordings.

Similarly, in Aida when Radames is being tried, the focus of that scene is generally on the anguish of Amneris. I get that, but the deep condemnation of Radames by Ramfis - heightened by the silence of Radames - it is so powerful. And they often have it happening off stage or behind scenery, which doesn't really lessen the effect, but might be a little unfair (and makes finding a recording focusing on that bit hard).

A large part of this post is to laud this musical things that I like, but there is another aspect to this, in terms of family.

My family is an opera family, and even more a Verdi family. I believe my mother would love opera on her own, but there are passages that inevitably bring up memories of her father, who was always singing it.

My favorites are not my mother's favorites, which seemed wrong somehow, or like maybe I was a rebel or did not get it from her. I mean, I don't even like Aida that much, except for that scene. However, in talking about that scene with her (because I was featuring opera in my daily songs for almost a month and it was on my mind), she said it gave her chills. That is exactly what that scene does, and we are the same on it.

There are some other ways that my mother and I have connected over music recently, and I will get into that more tomorrow.