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Subject: Re: Plot failures (was perfect operas)
From: Les Mitnick <[log in to unmask]>
Reply-To:Les Mitnick <[log in to unmask]>
Date:Fri, 10 Aug 2018 11:50:50 -0500
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Kiwi:
   Your imagination is colorful and interesting.  But you are trying valiantly to graft some logical behavior onto characters whose intelligence quotients are compromised to begin with. The role of Leonora, though vocally resplendent and very beautiful, has absolutely no depth or real substance.  She certainly does not consider what consequences Manrico will suffer if she kills herself. Manrico ain't exactly a rocket scientist either, what with his "Di quella pira" where he resolves to walk through fire to save his mother. Di Luna is about as bright as Manrico (it must run in the family genes).  The only really interesting is Azucena, who at least has depth and gets the opportunity in Act II to tell where SHE'S coming from.  She's not demented (because she's speaking the truth about throwing her own baby into the fire by accident), and she IS very exciting to listen to (that is if you have a great dramatic mezzo who has the power to electrify the opera ------- she DOES have the final line in the opera ------as does Amneris in "Aida")
   I love your alternative endings and I commend your imagination, but you are trying to build on the premise that these people are normal and logical.  All four leading characters are four bricks short of a load to be sure.  
   And what about Norma??  Yes, we all love the opera, but don't you wonder how it is possible for the High Druid Priestess to manage to hide two children of whom she is the mother??????  And in a confined Druid encampment????  
   This is opera, and as Anna Russell said, "It doesn't matter what you do or whether it's possible as long as you SING it".
> On August 10, 2018 at 6:12 AM Kiwi <[log in to unmask]> wrote:
> 
> 
> Many otherwise ‘perfect’ operas fail due to plot weaknesses and as a result cannot be considered ‘perfect’ even if the music is exceptional (of course, IMHO).
> 
> I’ll start with Trov—and not with the overall story line which is pretty silly from the get go.  Let’s talk Leonora in the final act.  She makes a bargain with Count di Luna to spare her beloved in exchange for her body, but then after extracting that promise, she drinks poison, staggers into the jail cell, and dies in Manrico’s arms.  Doesn’t she stop to think that Luna might be just a little be put out by the fact that body is now stone cold dead?  Wouldn’t she realize that her abrogation of the deal would make it null and void and di Luna would do his thing?
> 
> Why wouldn’t she have waited to make sure Manrico (did the deal include Azucena?  Would Manrico have left in any case without his ‘mother’?)  Even if she had already slept with di Luna, wouldn’t the thing be to see her Manrico safely out of jail?  He may not have wanted to go, but di Luna held the power and could simply have forced him out.  
> 
> 
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