The Performance Andrea Chenier - Movie Review Example

Introduction The ability to create a specific expression within the theater is one which provides different insight and responses to those who are inthe audience. The ideologies which are created pertain not only to the main expressions of the author who creates the performance but also links to the cultural and social representations of the time. An analysis that is associated with the performance of the theater is from the opera of Andrea Chenier. This particular performance is able to create a definition of the controversies that were associated with the time in which it was written, combined with the expressions of the composer. The link is one which then provides a stronger response based on the way in which the opera is performed to the audience. Historical Background Andrea Chenier is a verismo opera that is composed in four acts. It was composed in 1896 by Umberto Giordano and was set in Italy for the initial performance. The composition was first performance in Milan, Italy but quickly moved into an international repertoire for opera with the second performance taking place in New York. The opera is known to have a specific link to the political and cultural shifts which were being made at the time. The offset is one which is a part of World War I and II with reproductions of the opera beginning to flourish during the time of World War II because of the initial context that was associated with the opera. The context of the opera not only associates with this but taps into the history of the French Revolution and Andre Chenier who was a French poet who held responsibility for philosophies of the Revolution at the time (Warrack, West, 1992). Cultural Context The cultural context surrounding Andrea Chenier is looked at from a variety of perspectives. The first is the understanding of the performance of the time and the changes in opera. The opera is known as being composed with the sounds of Wagner, specifically which allowed the music to take the form of lyrics and musical form based on lyric –dramatic form. The performance also included the prodigy style composition, which was inclusive of difficulties from the main performers to show the style of the time. Ornamentation and expansion of the artistic form of the opera were then used as a main component for the opera singer. The initial performance was inclusive of a tenor that was noted as a verismo – opera specialist, Luigi Illica. The production from the cultural context was then able to attract those who were interested in the prodigy form, specifically which was a part of the tenor performance. This was combined with the changes of musical style into a modern and contemporary initiative that was used to experiment with the alternatives taking place in music during the time frame (Budden, 1984). The concepts which were used musically combined with attracting those to the main operatic drama that was associated with the culture of the time. The topic of the poet, Chenier, was attributed to theRomantic Movement which occurred at the time frame, specifically in which poets were regarded as visionaries and romantics that held a leadership position within society. This was combined with the understanding of the humanitarian perspective which created the main drama for Chenier. The link to the French Revolution was one which defined the humanism of the war and how the working class was the main set of individuals which suffered from the revolution. This theme continues to be used as a part of culture and in relation to the difficulties which often occur during war time and in relation to the ability for the working class and those who were not in a political position to have a sense of change. The humanitarianism that was a part of the time frame is analyzed with the cultural aspect of change coming from the poets and those who had a vision about a better future for those who were not in power. This was combined with the understanding that each character, while not having a sense of power, was able to believe in the change which was required at the time. The cultural relationship was one which was a main format for art of the time, both as a personal philosophy of many cultures as well as one which was becoming a part of the transformation in various regions during the late 1800s (Shapiro, 2005). Critical Analysis of Andrea Chenier The concepts of Andrea Chenier by critics and from watching the opera combine both strengths and weaknesses in understanding the main components of the performance. The timing of the opera, written in the lyric – dramatic form, as well as the cultural affiliations with humanitarian aspects, becomes the main components of both the strengths and weaknesses of the acting. There are a variety of perspectives which are created from the opera, specifically which are dependent on the time frame in which it is performed and the musical applications which are understood from the opera. Combining the various perspectives is one which then develops a different understanding of what was acceptable at the time in terms of the performance and the main aspects which were created in regards to the composition and outcome that continues to be performed today. Critique of Musical Theories The main style that is taken from Andrea Chenier is based on the lyric – dramatic application of the music. However, there is also a sense of the prodigy form that was associated with the time, specifically which comes from the tenor performance. The main application of this is one which heightens the emotional responses that are a part of the time frame. The musical concept of adding in the prodigy ideologies relates to personal, cultural and collective identity that is a part of the time frame. When moving through the ornamentation and singing experience of the tenor, one is able to associate with the moving emotions that are associated with the lyric – dramatic experience. The musical theories which combined with this created an alternative understanding of the singing experience with the drama formed. The ornamentation and prodigy approach links to the lyrics that are used, specifically to combine the humanitarian aspect with the musicality of the opera. The tenor voice is the main one which leads this concept, specifically with the difficulty of the piece and the humanitarian ideologies which reflect the personal and cultural affiliations through the music (Tamasulo, 2000). There are two concepts which are critiqued with the musicality that is a part of the opera. The first is based on the cultural and personal aspects of the late 1800s which created an understanding with the prodigy based approach to singing and how this related to emotions. However, other critiques create a different understanding of the musicality and the relationship to the humanitarian component. If the performance is created with the wrong approach, specifically with the prodigy based areas, then the overall statement loses the main concept. Linguistic barriers, language difficulties and alternative performances often take away from the understanding of the cultural affiliations with the music and how it is presented. Instead of the music theories adding into the ideology of humanitarianism, it becomes one based only on the exploration of the voice by the tenor while the rest remains fragmented. The concept is one which loses accessibility dependent on the performance and understanding of the poet from the French Revolution (Orero, Matamala, 2007). Performance Staging Critiques Another aspect considered with the performance of Andrea Chenier is with the staging changes and the way in which this has altered through time. The beginning performance is one which is based on the grand opera, specifically taken from the ideologies of Wagner from the late Romantic Period. This combined with the movement into the contemporary and modern ideologies of performance which contributed to changing the performance with new components of the performance. The staging of the Italian opera added into this with props, extra costumes and the need to move into a strong and dramatic set of features for the opera. The main focus was to highlight the drama through the staging and the way in which this added into the main performance. By doing this, it was expected that the components of the humanitarianism and the performance of the opera would take a different understanding from the culture at the time while building alternative understandings related to the drama of humanitarianism (Schwartz, 2008). The performance aspect of the grand opera in Italy during the late 1800s was one which was widely accepted and provided more drama to what was occurring. Offering new experimentation and formats for the stage and costumes highlighted the singing and provided a different outlook from the past dramatic features and operas. However, there is also criticism in regards to how this is perceived and what now works for the opera. The plots and interpretations of the grand opera can easily take away from the poetic ideas of humanitarianism and the message which is being conveyed. The accented drama through the performance of the stage then becomes a question of the overall process and critique of the performance while creating difficulty in maintaining an understanding of the opera. The main approach which is required with the dramatic concept is to have a balance between the plot and the stage features, specifically so the humanitarian ides are not lost with the main performance. Creating thee features while allowing the plot of the French Revolution to remain a primary component becomes one of the main critiques that either leads to success or failure with the main interpretations of the drama (Levin, 1997). Culture and Criticism One of the most important aspects that are a part of the performance of Andrea Chenier is linked to the cultural affiliations of the time. Italy was in a period of dramatic works, specifically because of the surrounding revolutions of France and the new beliefs which were emerging both culturally and politically. The concept of tragedy and war was a prominent part of the culture and was one which continued to be conveyed with the humanitarianism of each region. The main component was to create highlighted drama which related to the experiences of the culture and what was occurring. The main attribute of the drama is with the capacity to create a performance based on the tragedies, both with the revolutions and the humanitarianism that was a part of the time frame. These highlights are one of the most important components that allow the opera to unfold into one which the culture continues to relate to in each time frame (Frisch, 2006). The emergence of the opera is one which can be critiqued from two main components. The first is from the Romantic Era that allowed for the composition, specifically which highlighted the emotions that were a part of the time frame. The European politics and culture of this time was noted as coming out of the traditions and moving into one that was based on the emotions of the time. The politics coincided with this with pressures to change and alter what was performed and given to citizens at the time. The highlight is one which is noted through Andrea Chenier and the main components that were a part of the performance. This is followed by the movement into modernism and contemporary composition, specifically noted in the grand opera and what was taking place. Highlighting these two aspects of musical culture are some of the highlights of the opera, specifically which fit in with the plot line and the main association of those who are interested in the cultural changes of the time (Vincent, 2001). The concepts of culture that are a part of this time frame, specifically with the emotional basis, is one which continues to regard the opera with the ability to convey the main ideologies of suffering, revolution and cultural applications of humanitarianism. The musical expressions of the grand opera and the dramatic features associated with the opera all link to the expressions of culture at the time. However, critics also note that the opera moves beyond this into the universal understanding of what it means to have a melodrama based on a man who is emotional and begins to sense the deeper components that are associated with his life. The cultural aspects which relate to this create a deeper meaning to the melodrama, specifically with the use of a tenor who creates the universal application to humanitarianism, justice and the right to freedom throughout the opera. The cultural analysis is one which then is defined with the performance aspects and the cultural theories of changing the associations with being masculine in order to highlight the melodrama and to create a deeper understanding that humanitarianism is one which affects each individual. This specific approach to the opera is one which makes it timeless while associating different plots toward the feeling of revolution and humanitarianism that affects each individual (Fuqua, 1996). The overall cultural aspects of masculinity and the universal concept of humanitarianism is then one which allows the opera to become timeless in performance. The approach taken by the composer and in relation to the components of the time is based on the representation of revolution in France and what this means in the larger context of the time period. This is important to note because the opera was originally written and performed in Italy and later in New York. This becomes even more important because the representation of humanitarianism and revolution through the opera gained a specific weight and sense of prestige during World War I and World War II. The continuous performance and reemergence of the culture of the French Revolution are important to identify as a part of the humanitarianism that withstood time through the main ideologies. The characters become a representation of the humanitarian desire by every individual and visionary to have freedom. This is furthered with the cultural components that were based on the Revolution and which created an understanding that each individual needed to create a deeper understanding of political culture. The political culture and the dramatic features which are associated with this throughout the opera are the most important highlights, not only with the original display, but also in terms of a timeless representation of humanitarianism and the concept of revolution that transcended across cultures (Maslan 1995). Performance of Emotion The main concepts of culture, musical aesthetics and the ability to move into themes that withstand time all merge together into the overall performance which occurs. The character of Andrea becomes important in identifying the emotions from a masculine viewpoint and which represent the main ideologies of humanitarianism. The performance of emotion is the one which transcends through time and culture in creating a different understanding and interpretation of the time. An example of this is noted when Andrea becomes associated with Maddalena. The transformation which the main character goes through begins with the performance being first based only on the poetic thought and philosophies. However, the transformation into the humanitarian aspects leads the main character into a different understanding that moves into emotion. The main movement of the plot line and the way in which the characters begin to engage with each other then alters the melodramatic features of the culture into the universal ideologie of humanitarianism that are represented by Andrea throughout the opera (Constable, Denisoff, Potolsky, 2000). The main way in which the opera is written and the universal concepts that move outside of culture are the attributes which allow the performance to move outside of the main concepts and into reception. Despite the performance perspectives and the musical aspects which may not be as popular today, are several attributes with the emotions and universal perspectives that are a part of the opera. The poetics of the opera and the romantic notions are ones that are continuously receptive and provide a different component to the opera. The reception of the audience is then able to continue, specifically because of the attributes of the poet and the main components that are associated with the ideologies of the Revolution. The reception of the audience is able to continuously understand the main themes and emotions that are attributed to the writing of the opera. The text, relationship to the music and the way in which this is perceived throughout the play become unifying forces in creating the emotional component and the universal themes accepted by the audience outside of the time and culture written with the opera (Esterhammer, 2006). Conclusion The concepts that is associated with Andrea Chenier and the opera performance moves into a variety of concepts that are a part of the main initiative. The performance is inclusive of the musical ideologies of the composer of the time, specifically which combine the Romantic Period with the movement into modern experiments. This associates with the stage performance and the expectations that are a part of the culture of the time. These each combine with the understanding of the opera and what is expected in terms of the performance with musicality, stage performance and the lyrics of the time. Each of these is either considered strengths or weaknesses, dependent on the receptivity of those who are watching the opera. However, the opera is able to create a stronger association with the play by adding in components of humanitarian concepts, the Revolution and the emotions which are associated with this. The composition, framework of the opera and the overall performance then transcend through the musical and cultural affiliations. The emotions and the universal themes allow for an alternative understanding of the play to take place while allowing the opera to become timeless with the performance. Word count: 3175 References Budden, Julian. (1982). “Andrea Chenier: Umbreto Giordano.” Opera Quarterly 2 (2). Cherniavsky, E. (1998). Real Again: Melodrama and the Subject of Revolution. New York: Duke University Press. Constable, Liz, Dennis Denisoff, Matthew Potolsky. (2000). Perennial Decay: on the Aesthetics and Politics of Decadence. Pennsylvania: University of Pennsylvania Press. Esterhammer, Angela. (2006). Romantic Poetry. New York: John Benjamins Publishing. Frisch, Andrea. (2006). ‘French Tragedy and Civil Wars.” Modern Language Quarterly 67 (3). Fuqua, Joy. (1996). “Can You Feel It Joe? Male Melodrama and the Feeling Man.” Velvet Light Trap 1 (1). Levin, David. (1997). ‘The 1903 Grand Opera Series.” Opera Quarterly 14 (1). Maslan, Susan. (1995). ‘Resisting Representation: Theater and Democracy in Revolutionary France.” Representations 52 (1). Orero, Pilar, Anna Matamala. (2007). “Accessible Opera: Overcoming Linguistic and Sensorial Barriers.” Perspectives 15 (4). Shapiro, Johanna. (2005). “Teaching Humanities through the Opera.” Family Medicine 37 (1). Schwartz, Arman. (2008). “The Puccini Problem: Opera, Nationalism and Modernity.” Notes 64 (4). Tamasulo, Frank. (2000). More Than a Method: Trends and Traditions in Contemporary Performance. New York: Wayne State University Press. Vincent, Patrick. (2001). The Romantic Poetess: European Culture, Politics, and Gender, 1820 – 1840. New York: UPNE. Vincent, Patrick. (2002). Elegaic Muses. New York: UPNE. Warrack, John, Ewan West. (1992). The Oxford Dictionary of Opera: Andrea Chenier. UK: Oxford Publishing. Read More