There's enough story in that opera to furnish three or four conventional opera plots: The matriarch's expiration and the infighting that follows, Jules' and Tulip's near-adultery, the outing of Diana and Ross' interracial affair, and so forth. A lot of tension is built and resolved, it's simply in the service of several smaller plots rather than one overarching one.
Yeah, getting the end to work on Così is tough, but there's real payoff for doing it successfully. Other operas are similarly challenging without the compensations. (Manon Lescaut, for instance. It would take a genius to stage the last act in a way that it wouldn't come across as totally ludicrous to a modern audience. The Lyric didn't even try this time round, they just plunged right into high camp.)
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momijizukamori
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Date: 2005-12-02 12:28 am (UTC)Yeah, getting the end to work on Così is tough, but there's real payoff for doing it successfully. Other operas are similarly challenging without the compensations. (Manon Lescaut, for instance. It would take a genius to stage the last act in a way that it wouldn't come across as totally ludicrous to a modern audience. The Lyric didn't even try this time round, they just plunged right into high camp.)