A Journey into the Psychodynamics of Italian Opera
by Shlomo Hoffert
Sholomo Hoffert has a Masters' degree in Social Work and also received training at The Theodor Reik Clinical Center for Psychotherapy, marital counseling and hospital social work.
Why does Gilda sacrifice herself to save the duke's life? (Rigoletto). Why did Puccini place Tosca's famous aria in Act II of his opera at the particular point in the action onstage?
The main purpose for composing an opera is to tell a story. Music without a story line is not opera. Music is the composer's artistic tool of choice to express himself and in doing so, he is no different than an author or playwright both of whom use words as their vehicle to bring a drama before the public. Words, music and setting are conjoined inextricably to that end, and may not be separated. Together, they make up the composer's creative expression.
The book: When the Fat Lady Sings...Listen! brings before the opera-going public a different and more complete approach to this intriguing artistic genre, in that it defines the composer's use of the music medium to describe the psycho-dynamic interaction between the characters onstage. The result is a wider and deeper understanding of the opera's plot and a more accurate and therefore truer indication of the composer's genius.
The book presents human interaction in seven masterpieces of Italian opera. The composer is regarded as a keen and sensitive observer of the human scene who uses musical language and text to tell a real life story. Characters are portrayed in dynamic situations; these are interpreted in psychodynamic terms. Emphasis is placed on the composer’s ability to create drama; the composer’s musical skills and use of the libretto are in the service of the drama. The use of music is no different in opera than are words in a play or novel. The composer combines music, words and venue to create a personal, individual work.
Shlomo Hoffert has a Masters’ degree in Social Work and also received training at The Theodor Reik Clinical Center for Psychotherapy in New York. He has professional experience in psychotherapy, marital counseling and hospital social work. He is now retired and lives in Israel. Mr. Hoffert’s knowledge of opera comes from more than a half century of extensive exposure to and personal interest in opera and the vocal arts and he has an intimate knowledge of the scores he discusses.
The book is available at: ContentoNow.com
Get the book also at: Amazon.com
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