Carey Lives Here

Tanene went to the Met for Elektra, and I went to Spain with Ainadamar. We’ll get to that later, but first it’s worth uninvitedly crashing her dinner party.

butnotmine:

The main topic of conversation at our dinner following the performance was: How does one find their way to opera in our modern world?

Quick survey of our most opera-loving friends did not lead to any patterns. In fact, they almost distinctly lack pattern. Perhaps in 75% of the statistically insignificant sample, class jumping was involved in the life of the opera lover. These were not people who came to love opera as a signage of that class jumping, but those who truly did love opera, even though they were not raised around it. In large part, these seemed to be people not raised listening to opera as children.

Both of my grandfathers enjoyed opera, much to the annoyance of both of my grandmothers, a fact I learned only after they had both died and I had come around independently. My first trip to the Met was to see Hansel and Gretel, and I hated it and all of the off-key shrieking that comes to mind when most people imagine opera. But I eventually joined the cult, in part because I think opera has a much broader appeal than is commonly appreciated, and also because I was primed through classical music.

Most people already have some exposure to opera through popular culture. Lakmé’s flower duet? Hello, British Airways. Carmen’s Habenara? Muppets. The foundation is there. Consider the climax of the Sum of All Fears. That Nazi’s car explodes to Nessun Dorma, and nothing else would fit the bill.

As Tanene said, the barrier to entry is higher than with Lady Gaga, but the gateways are all around - classical music, plays, and musicals. I came by way of the music, first hooked by the intro to Tosca. For me, the fun was that the music was just one part - it’s the appetizer prepared at home in anticipation of the meal served at the Met. There are words! Acting! The music, that addictive music, tells a story, too! And when it’s done right, when it all comes together, it’s stunning. Gesamtkunstwerk, as Wagner called it. Total art.

So, Ainadamar, the flamenco opera that served as my soundtrack for Spain. The track up top is from the finale. From the minute mark to 2:20, it’s gorgeous, how music should be done. And it’s difficult to imagine that the appeal isn’t in some way universal.