Characters and audience – I

Plot and characters behaviours choices, pointed out by te music of operists endowed of a critical mind, open neverendig cues about the effects towards the contemporary and the past audience, fundamental to understand relations between artistic productions and their utilizations. If listening Ernani, Il Trovatore, or La Forza del Destino, makes impossible to cultivate sloth, or to feel servants, the Il Barbiere di Siviglia happy end is doubly satisfying because the Conte di Almaviva and Rosina engagement is flanked by the old, very mean Dr. Bartolo humiliation, caused by the lost of his ward’s dowry. In Don Pasquale, Norina and Ernesto triumph over the old uncle tortured and derided, but as a matter of fact, they seem to be avoided of generous gestures. Ernesto is a-good-for-nothing, Norina shows herself more as interfering than in loved girl. The punishment of the obese protagonist in Verdi’s Falstaff executed by the merry wives bunch of Windsor provokes a regret and trouble in the spectator, prompted until this moment to see the old Sir with mercy and pity, if not with benevolence.
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