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What is the real difference between musicals and operas?
Normally I would answer that question with something like: operas are generally through-sung, consist of recits and arias, use "classical"-sounding music, use an orchestra/conductor. Musicals usually alternate spoken dialogue with songs, use a more popular-song style, and can sometimes use smaller ensembles, and often have lighter subject material.
However, I see both musicals and operas that seem to blur these boundaries. There are musicals that are mostly or completely through-sung and there are operas with spoken dialogue. There are operas without a clear aria/recitative distinction. There are musicals that can use very symphonic, even operatic sounds and textures and operas that employ popular-music styles. There are operas that deal with light subject matter and there are some very heavy, dramatic musicals.
Can anyone give me some clear criteria for distinguishing the two? Or is there a blurry line where a work could be called both or either?
4 Answers
- 1 decade agoFavorite Answer
To quote Stephen Sondheim: "I really think that when something plays Broadway it's a musical, and when it plays in an opera house it's opera. That's it. It's the terrain, the countryside, the expectations of the audience that make it one thing or another."
There are definitely musicals which have no spoken dialogue, just as there are operas and operettas which do have spoken dialogue. So yeah, I think both forms sit on opposite sides of an extremely blurry line.
One thing I have noticed about musical theatre is its almost constant tendency to be performed in only the language of its current audience. "Jesus Christ Superstar", for example, would only be performed in English when it's being performed in a primarily English-speaking country. Many operas, however, will stick to the original language of the libretto, regardless of where it's being performed; I've yet to hear Rigoletto in anything other than Italian or one of Wagner's operas sung in anything other than German.
- lynndramsopLv 61 decade ago
um, there's also the curious little distinction of electronic enhancement. In the house where I work, we have put on world-premieres of musicals ( which, according to either their merits or our performances, have never been heard-of again)
as well as standard operas and operettas.
We never use mikes or feedback for the operas or operettas. We use all kinds of electronic devices for musicals, not only portable ( body) mikes for the soloists, but a hanging mike in the flies for offstage chorus, and pick-up mikes in the pit. there's also the usual array of speakers to give feedback. the conductor often has the beat track fed through to him via earphones.
Up in Bochum, where the Starlight Express Theater was built ( over 10 years ago and still running), the band plays in another part of the building entirely. The performers get their cues by watching the TV monitors, and by their headsets.
We in Aachen have also done our share of world premieres of very modern, ink-isn't-dry operas. One of them was graced with the composer on electric guitar, so that all of us were of necessity also miked. One had electric bass in the pit,( our lead contrabass player had a field day but the rest of the section, on regular contrabasses, were in a foul mood, until they also got a stand mike).
Neither of these two pieces will ever be heard of again, believe me.
- 1 decade ago
well to tell you my point of view lol musical is a storyline with songs in it and opera is something to do with the vibrating voice like Pavarotti
