1. It's in a foreign language.
The No. 1 rule in communication, and now the No. A-1 rule, because of the diversity and globalization, is to assume that you've been misunderstood. EVERYONE is speaking a "foreign" language. Opera is no different.
2. Most of the people are overweight.
Thus the phrase "It ain't over till the fat lady sings." Well, the US is increasingly obese, so that's nothing new.
3. You don't have to understand the words to figure out what's going on; just listen to the music.
Well, this is typical nonverbal communication and actually is the way opera works. The words are secondary, really not important at all. The message is through the music.
In the real world, you're best bet at getting what's really going on - considering that 49% of the people you talk with are trying NOT to communicate, and 49% simply can't - is Nonverbal Communication, so we study it deeply in the EQ Alive! Program. The "music" tells you the nuances, the emotions, the "real" meaning ... and that's the tone of voice, the grunts and noises, and the expressions, gestures and posture, and silences.
4. The plot, one you figure it out, is either silly, or makes no sense at all.
Well, likely you have days like this at the office, in the Board room, at corporate meetings, and at home with your 3 and 6 years olds. Still there's a story there, and it goes on, and is to be enjoyed.
5. They don't wear normal clothing.
It looks like Casual Friday at your office, right? Or your teenage daughter's boyfriend with the baggy pants and the bone in his nose? Or that person I the neighborhood who just moved "here" from somewhere else, and doesn't seem to want to assimilate? Yes, opera is not as 'foreign' as you might think.
6. It's about someone named "Tristan" and someone named "Isolde" and there's something about a magic potion, and all this angst, but oddly enough I can relate to it. I know exactly what's going on. I mean how it feels, anyway.
Yes, music, being a symbolic and universal language is the best way to transmit emotion, and the themes in opera cross all cultures, all times. Wagner said about his opera, "Tristan and Isolde," speaks not of the passion, love and longing of this or that individual in this or that situation, but of passion, love and longing in themselves."
7. I can't figure out the dress code in the audience, either. I thought you were supposed to dress up.
Those days are over. Some opera houses may have dress codes, but it's probably more relaxed than you would think. Robert Greenberg, Ph.D., on his "Understanding Opera" curse advocates letting us all come however we want to. That day may be coming, just as it has in many areas of the country.
8. Elephants, horses, chariots, and a cast of thousands on stage, 30 people in the orchestra pit, people running all over back stage, but it all comes together.
Yes, just like the massive projects you're involved in. In part due to the conductor, in part to the stage director. Verdi's Aida, when cast in an opera house that can accommodate it, like the Bath of Caracalla in Rome, features horses and elephants on stage. Grand opera is an extravaganza. You'll get your money's worth. 9. I've read books about opera, but I don't get it.
I'm not surprised. Once you're out of school in the real world, most of your learning will also be "experiential." You need to show up, be fully present, and then process. You can't read about how to handle an irate customer, and no book can cover what it's like to take your first case to trial. No NON-FICTION that is. Some fiction does a fair job, because it's fiction.
You must to an opera to learn about them. Augment it with research, books and courses, but the first step is to go to one. Just like your new job. You can't learn it sitting home and reading a book. 10. This is pretty cosmopolitan. We have singers from all over the world - Jussi Bjorling, Renata Tibaldi, Maria Callas, Luciano Pavarotti, Robert Tucker, Lori Decter, Birgit Nillson, Jessye Norman, Sandra Rubalcava, Thomas Quasthoff, Fritz Wunderlich, Ying Huang.
Just like ...
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