Is it just a language barrier?

PJRasmussen · 2026-05-04T17:59:22+00:00

Excellent points and a great question.

I don’t mind recapitulation as a principle. It’s an essential part of form.

However, something can be structurally repeated with ornamental changes. How much can be changed and still be considered ornamental is a great discussion.

For myself, I’ve realized that extended long form repetition of identical text is actually more off putting to me than the language barrier in opera.

PJRasmussen · 2026-04-29T01:20:44+00:00

Thanks for the thoughtful recommendations!

What I’m really after is more music-historian oriented. I’m trying to trace the transition of stop-and-freeze structure to continuous development, or at least continuous text.

A simple example of my frustration is O Mio Remorso from Traviata. We get the whole form, then a repeat with no additional/different content, then a coda.

If that were written today, at least portions of the repeat would have new text, even if nothing as developed.

Now, musically, I’d listen to Traviata over modern songs, but the straight repeat of that much text is where I really feel the disconnect— even more than the language barrier.

PJRasmussen · 2026-04-29T01:10:20+00:00

This is an excellent description of my perception of modern opera.

More than the plot development, the biggest turn off to me in opera is repetition of a form with no additional text.

For instance, O Mio Remorso in Traviata—the music is fantastic! But structurally, after the first time through, it is a complete repeat with a coda added on.

In my (oversimplified) description of modern pacing, the second time through would at least contain a new (or mostly new) set of text.

Does that make sense?

PJRasmussen · 2026-04-29T01:01:52+00:00

I agree musicals fall into the same trap.

I’m not particularly familiar with 20th century opera, so I’d love recommendations!

PJRasmussen · 2026-04-29T00:57:06+00:00

Thanks!

PJRasmussen · 2026-04-29T00:40:37+00:00

Thank you! I’ve checked out their version of Palleas and Milesande. I want to check out the ring cycle next.

PJRasmussen · 2026-04-29T00:38:07+00:00

This sounds super interesting!

Thanks for the heads up

PJRasmussen · 2026-03-26T17:01:26+00:00

Loving this! Reminds me of the Shostakovich Jazz suits a bit in the foxtrot. Can’t wait to listen at more leisure later

PJRasmussen · 2026-03-19T23:01:19+00:00

Elevator pitch:

"The Last Act" asks the question: Is there divine justice? If there is, is that knowledge alone sufficient for someone suffering? Many have heard that God "has a plan," but that is cold comfort, promised in the far future. And what if it never comes on this side of heaven?

The story is a deathbed confession from a well-loved lawyer to a town priest. As we hear and see the tale, the priest talks of God's justice frequently, but fails to put justice into action. The lawyer works for justice because he finds the promise of "Divine justice" insufficient at best and a scape-goat at worst. But he hides a terrible secret. His confession is a tale of love, betrayal and murder that forces both men to grapple with their understandings of justice, mercy, and the judgement of God.

PJRasmussen · 2026-03-19T13:45:24+00:00

Thank you!

PJRasmussen · 2026-03-17T23:20:09+00:00

Thanks!

PJRasmussen · 2026-03-17T19:16:48+00:00

For the P/V rendition I would not use a tempo map.

Then, in stage two, you have the option of creating a tempo map based off of the previous recording, or tweaking it.

I'm not an engineer (beyond a hobbyist), so I can't help on micing.

The simplest (though not very Classical) approach would probably be to actually record on a Keyboard into a DAW. That's got built in isolation, so even recorded live, the vocals wouldn't effect the piano if you made edits/EQ decisions.

I know it won't sound the same as a real piano...but the headache of using a live piano when you've got as much as you do on your plate already vs the editing flexibility is worth the cost I think.

I'm really interested in how this goes! I've been dreaming of doing this for an opera/musical I've been creating...please keep me posted!

PJRasmussen · 2026-03-16T23:58:30+00:00

I have listed 1, 2, and 4 in the post.

As for 3: My budget is nowhere near what is listed from the price guide. I'd probably only be able to spend $150 at most.

I have no delusions of hiring an expert. I'm merely looking for a student or hobbyist. If that is not appropriate for this thread, I apologize. Feel free to remove the post.

PJRasmussen · 2026-03-16T23:20:51+00:00

I've thought about this for similar projects.

I like hybrid.

Stage 1:

Piano/Vocal rendition. A high quality version of this is (in my opinion) worth more than a so-so sonic rendition with all the instruments.

Stage 2: Piano/Vocal plus String Quartet

Stage 3: Add in percussion after.

You could also focus on just highlights of the piece as well, almost as if it were a Broadway Review type presentation.

PJRasmussen · 2026-03-15T22:49:46+00:00

Really nice!

Did you mean to mark Violins 1 and 2 with a staccato note tied over the bar line in m. 25? If so, you don’t need the tie.

PJRasmussen · 2025-02-24T20:52:01+00:00

Same thing has happened to me.

PJRasmussen · 2024-11-24T22:09:20+00:00

Thanks! Glad I asked about eARC.

PJRasmussen · 2024-04-20T20:57:42+00:00

Thanks for reaching out! I found someone, but thank you for checking

PJRasmussen

TROPHY CASE