Anaesthesia II, by Sonia Arienta

The top of spectacularity in Aida and Don Carlos is set in two places: respectively in the Tebe’s entrance (Finale II), in the Valladolid’s big square (Finale III). Both of them coincide with the middle of the opera dramatic-musical sequence, and both are public open places, crowded with presences. Whether the “triumph” scene, or the “Autodafé” one constitute an impressive, theatrical epiphany of the power, fit to describe the apparatus and the machines used by the last one, in order to express its arrogance. Musical horror vacui of these pages, graphically supported by the density of notes, staves for voices and instruments in the full score and the display of magnificence express with theatrical tools a critic towards the power. They are so different from the complacency for redudancy, from a wanton show of sounds. They rather stress autocelebration of power and its rhetoric which Verdi criticizes and points out it, thanks to awareness with he utilizes grand-opéra’s patterns.
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