Why I Hate The Opera

Why I Hate The Opera Free Online Research Papers I am not a big fan of opera. It seems so theatrical, which I know is the point, but excessively so for my tastes. They oftentimes sing in foreign languages, which may seem romantic, but to the everywoman I am, it seems my daughter can speak better English then they can German. And what is with the men always being overly fat? Do I want to pay big bucks to see some guy sweat all over the stage? Opera is not for me, not by a long shot. Every movement has to be overwrought. The make-up has to be so heavy. Wigs and costumes all weighing at least 100 pounds. The stage, every inch of it, has to be drowned in movement, either with actors or set design. Can’t they convey beauty and emotion in immobility as well? And seeing some woman or man berating another, or not even berating, maybe just consoling or lavishing love, while speaking a foreign tongue, how does one understand the words? If words weren’t that important, why can’t they just hum it? Or replace the words with universally known euphemisms, like ‘amen’? The swelling of the orchestra normally drowns out the pronunciation anyway. I am sure that elongating portiaaaaa can be viewed as a talent, but not to the average listener, sorry. And why do all the main performers appear to be excessively obese? Men, women, it doesn’t matter. I have been taught that singing from the diaphragm is the way to project the voice. If this is the case, they should have some killer abs, and not a 40† waist. Maybe they need the extra poundage for presence? No, opera is not my thing. I can’t see paying all that money to leave as confused as I came, or more so. Give me plain old English, without all that sing-song excess. I will save my money and see a movie. Preferably by Jerry Bruckheimer. Research Papers on Why I Hate The Opera19 Century Society: A Deeply Divided EraHip-Hop is ArtWhere Wild and West MeetThe Fifth HorsemanTwilight of the UAWHonest Iagos Truth through DeceptionMind TravelQuebec and CanadaThe Spring and AutumnAssess the importance of Nationalism 1815-1850 Europe

Promptly Acknowledge Affiliation to Provide Context

Promptly Acknowledge Affiliation to Provide Context Promptly Acknowledge Affiliation to Provide Context Promptly Acknowledge Affiliation to Provide Context By Mark Nichol I was slightly put off by a newspaper article that referred to the recent appearance before a US Senate subcommittee of philanthropist Paul David Hewson. Why? Because the article, after introducing Hewson by his better-known moniker, Bono, identified him simply as â€Å"the U2 frontman.† The article, however, had nothing to do with Bono’s membership in one of the most commercially successful and critically acclaimed rock bands of all time. Bono spoke to the subcommittee in his capacity as an activist who has cofounded several nongovernmental organizations that seek to improve living conditions, primarily in Africa. It had everything to do with finding ways to combat extremism and terrorism without violence, including providing financial assistance to refugees victimized by perpetrators of such movements. The article was in the entertainment section, not the news section, but it was a bit flippant about one of Bono’s admittedly offbeat arguments: that humor be deployed as one cultural weapon against repressive regimes. Most important, however, it took its time presenting Bono’s credentials, implying that he was just one more in a long line of airheaded artists spouting dippy suggestions about how to save the world. The writer did not err in mentioning Bono’s identity as the face of an iconic music act- that’s what attracts eyeballs- but to be responsible, he or she should have quickly introduced the musician in his additional capacity as a respected advocate for oppressed people all over the world. Readers unfamiliar with his activism and philanthropy would then be promptly informed of the validity of his appearance before a congressional subcommittee. Following a blithe lede (that’s journalistic slang for the lead sentence or paragraph of a newspaper article, kids), the article stated, â€Å"The U2 frontman spoke during a Senate subcommittee hearing on Tuesday . . . .† If I had been the editor of the article, I would have revised it to read something like this: â€Å"The U2 frontman, also recognized for his activism and philanthropy in support of oppressed people worldwide, spoke during a Senate subcommittee hearing on Tuesday . . . .† In addition, Bono’s primary plea was for more funding for political refugees; the comment about deploying comedians was an afterthought by comparison, though he did make a valid point about how dadaists and surrealists in early Nazi Germany, employing satire in their activities and publications, were a threat to Nazi hegemony. The article underemphasized his call for a program much like the Marshall Plan, an ambitious (and expensive) but effective economic initiative that was instrumental in helping Europe rebuild after World War II. In summary, if you find yourself in a position to report on a celebrity’s more substantial activities, such as philanthropic efforts, even if the content is intended to be as much entertaining as informative (or even more of the one than the other), do a better job than the writer in question about providing context. Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Style category, check our popular posts, or choose a related post below:Program vs. ProgrammeThe Difference Between "will" and "shall"10 Varieties of Syntax to Improve Your Writing