Similitudes, by Sonia Arienta

Opera has been for a long time contempted and valued a second place gender by a certain old current of musicologists, because of supposed incapacity, or lack of elegance, of taste and skilfulness in orchestration of its composers. Whereas, it was instead the short-sightedness of the academics too much academic, very theoretical and too little practical which neglected and ignored the performance’s needs, which judged librettos nonsensical blotters. As if the last ones should be used and considered like plays self-sufficient, or destined to silent reading like a novel, instead of be esteemed only in order to their unavoidable relation with the music composed for a theatrical performance.
On the other hand, the users exclusively patronising popular music judge opera, or classical music, something of particularly reactionary, old fashioned and boring, persuaded that the encouragement to the novelty and to the rebellion is a prerogative of their favourite gender…
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