Opera: Commonly uncultured

It's one of the ironies in modern society. Opera was designed for the masses, once considered unrefined and not good enough for society's upper class. Yet today opera is seen - generally by those who haven't experienced it - as stuffy. Cultured, hoity-toity, and boring. It's anything but.

Now that computer technology translates live the Italian, German or French for audiences, it's easier to see opera for what it is: seedy, bleedy, greedy, and raw. There isn't one without some tragic combination of wretched poverty, romance, sex (typically illicit), war, and if not murder, at least death. Imagine these against a backdrop of lavish costumes and sounds so powerfully perfected that the emotion of their deliverance obviates the need for translation; sounds which elicit joy, tears or, at minimum, that quaky feeling in the gut.

Don't knock it unless you've tried it, and tried it here.

I'm still feeling the emotion from Sunday's gala fundraiser for Opera Coeur d'Alene. My European guest (whose mother sang opera professionally) was flabbergasted by what she called "amazing talent" available right here in North Idaho.

Yes, opera's 16th century origins were in palaces. At first only royalty had the leisure time and money to lavish on costumes and sets. However, most of the full operas popular today were written for the common public; hence, the commonly "low" - and very human - themes. Mozart's were considered crude. Puccini's, decadent. Recently Chinese opera has brought East to West; theirs are so powerful with massive drums and a different style, but the same basic tragic, romantic, and action themes.

Opera's stars weren't always revered; its original actors were typically desperate for work and barely scraped by. By their viewing "betters," most performers weren't treated much differently than vendors and streetwalkers. Operas like Mozart's and Verdi's were written about and for the masses, so the storylines appeal with exaggerated emotion, humor, irony, and political satire.

All delivered by those highly trained voices which, without microphones or synthesizers, shake the walls of gargantuan concert halls. When I feel those vibrations through my seat the shock and beauty of it makes me cry. It's a physical as well as emotional release. Derrick Parker did as much to me at Sunday's gala; this expressive baritone sends shivers down the spine.

Opera Coeur d'Alene wants to bring more high-quality shows and performers here, as well as a broader audience from outside the area, but they need more interest (especially by the young; both my kids adore it, only one a self-described "nerd") and help to do it. Bizet's Carmen shows in September - about a Spanish gypsy, a soldier, and a bullfighter who share love, violent jealousy, prison, and ... Well, just go to this favorite and see how it turns out. As Carmen said, "Love obeys no laws."

Sholeh Patrick is a columnist for the Hagadone News Network. Email [email protected].