Whether it’s murder by the hand of a jealous husband, a wife or female lover gone mad, or just some questionable inter-familial relations (we’re looking at you, Wagner – we know what filth you’ve got in Die Walküre), death, sex and family drama have always been at the heart of opera – as they have soap operas. Then you’ve got Bizet’s Carmen, where soldier Don José kills the seductress title character in a jealous rage when she refuses him. They commit matricide and get away with it.
She ends up going through with it, along with her brother, Orest. In Elekra, the title character is hellbent on murdering her mother and her lover to avenge the death of her father. Violent, and often unnecessary, deaths are also an essential part of opera.
In the opera, she nearly faints but ultimately seems happy that she can still love Figaro, albeit in a slightly different way. In The Marriage of Figaro, the Count, wanting to seduce Susanna – to whom Figaro is betrothed – tries to set Figaro up with Marcellina, a woman old enough to be his mother. A big part of opera has since been rooted in everyday dramas, albeit fairly ridiculous ones.
When Puccini hit the scene around the turn of the 20th century, the term for the operatic drama in fashion was Verismo (translated as ‘true’ or ‘real life’). (pauses for cliffhanger-effect), opera.įrom Mozart to Verdi, many of the most popular operas revolve around people, the grand and the lowly, and family stories. But many people will tell you that the ‘opera’ part comes from. Dramatic and strange, exaggerated storylines… which other art form does that remind you of? Ah yes! Opera.Īs with many colloquial things, exact origins are hard to track down.
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