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February 11th, 2012, 22:38
Originally Posted by Vii Zafira View Post
So what you say she did to you was actually a great feat. She made you feel exactly what the character was going through, and you reacted to that. There's nothing more :monocle: in Opera.
I thought you would get it that way. Indeed, I knew full well that subtlety and opera don't go hand in hand and I shouldn't expect that. Still, that fragment didn't make me feel passionate about it all - but detached from the character I guess. Still, as I said, what followed was awesome.

To be perfectly honest, I liked this Act even more than the previous one. I felt it had more energy to it and what was said really matched the melody and the tone. Even though I have yet to meet gypsies like the ones depicted here, the overall vibrance of the scene was mervallous. Likewise when Azucena recollects what happened to her mother and her true son. Loving that.

I start to realise the full scope of the plan Azucena has concocted. She aims to murder the Count with Manrico who in reality is some relative of the count (son, cousin, brother), and who had been kidnapped by the witch. The perfidy… Now tell me that witches ain't wicked at all.

I also began to see the pattern. The whole genre relies on dramatic irony :stating the obvious:. That I realise more than the character does, is supposed to feel the impact of tragedy - which is bound to happen, right? At the end of it all I'd be surprised if it didn't come down to Azucena dancing on the ashes of the count and her own "son".
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