Don Satz wrote:

>I find most opera plots to diminish my enjoyment of the opera's music.
>However, I am much interested in the participants' emotions, goals, fears,
>etc.  So, it's the human condition which interests me.  When I hear a
>voice, I attach it, not to an event, but to a "condition." I measure the
>quality of the singing in terms of pure vocalism and how well I "feel" the
>attachment.

That's just what I'm interested in.  What I wanted to say talking about
importance of operas plots is that you need them to understand 'human
condition'.  Perhaps MF is not a good example because of its symbolic
elements, tale form etc., but it was quoted by Daniel Soren Presgrave and
Walter Meyer.  Tosca is much better and Strauss' operas are the best.  What
Don refers to, 'human condition' expressed in particular scenes, seems to
be inseparable from plot as a whole ('Salome' and 'Elektra' - increasing
pressure leading to final death scenes, 'Rosenkavalier' - Marschallin's
love and wisdom leading to 'Ja, ja' etc.).

What I think about exploration of human condition and emotions in MF was
perfectly explained by John Halbrooks and Chris Bonds.  Detailed answers
to questions about MF plot are unimportant because of its fantastic nature.
Generally speaking, no particular example of opera is needed to explain
what I would like to prove.  No element of opera should be separated and
analyzed separately because of the very nature of opera.

I cannot help adding some answers for Walter and Aaron:

3 ladies conclude that Tamino is the man to rescue Pamina - they have no
choice, Tamino is so easily diverted from his conviction by Sarastro -
Sarastro is n times older and wiser, does anybody have any doubts that the
tests are going to leave Tamino unscathed - I always do, Papageno's bells
sound more delightful than Tamino's flute - Mozart played Glockenspiel, not
flute, Papageno flunks the test and still gets the girl - he is a
birdcatcher, not a prince, is it possible to fall in love with somebody
upon seeing his/her picture - I did (details to be mailed privately on
request).

Krzysztof Lorentz
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