Monday Operatic Spotlight: Frederick Jagel

Emotional Release In The Time Of Pain, While Continuing In The Creative Work! A Look At FREDERICK JAGEL's Performance Of "Vesti La Guibba," From The 1892 Opera, Pagliacci-By Ruggero Leoncavallo!

Thrive invites voices from many spheres to share their perspectives on our Community platform. Community stories are not commissioned by our editorial team, and opinions expressed by Community contributors do not reflect the opinions of Thrive or its employees. More information on our Community guidelines is available here.

Italian arias have an intricate, telling, don’t they? What is it about how they are sung and performed, which takes an ordinary statement and extends its depth? Something so simple as an every day action, brings out an enriching meaning, which had never been addressed, prior to hearing it. There are a number of things to sit back, ponder, and permit such an aria to, take you away. Mentally. Spiritually. Emotionally. Even after the audience has left the performance theater, that energy and vibe (surrounding the acoustics) marinates within one’s psyche. The acoustics are ever more empowering and delightful. After the performance, the sounds and wonders for the operatic scene continue to take place, in one’s delight. Operas are one of the musical blessings for the human, artistic experience.

Operas, as with other musical genres, and performances, have a way of conveying those human experiences, that we will never forget. However, when it comes to the world of operas, what makes them different, is this larger than life persona, of conveying that emotion, in connection to the Heavens. That’s what makes all the difference. Those particular songs, which have the treasure of moving towards the very hearts, minds, and Souls of a person is a musical re-birth. A person can never leave the auditorium the same, as when they had entered. That’s the wonder and holistic treasure of the operatic experience. Depending on the opera, it can be pleasing and beneficial to surround yourself with moments of solitude, during and after the show-in order to take it all in. Certain themes and vibes of the operatic experience can be heavy. Mentally and emotionally heavy. Therefore a break is needed from time to time. Once that begins, there is a fascinating well-being, for having restored oneself into absorption mode.

Coming into one particular opera, we have the story of humanity’s impulse to smile, even when one’s inner workings are in turmoil. We are speaking about the ooera, Paggliacci (1892), which was written by Ruggero Leoncavallo. There is the character of “Canio.” He is a performer. The show must go on! It doesn’t matter about his personal situation, or the fact that the betrayal of his wife has impacted him. The show must go on. That’s something, isn’t? What is it about the very nectar and promise of Universal artistry, that it demands you continue to push through, even during those times of hardship? What is that sacred contract, with the opera world, and theater world, in general?

For this particular character, “Canio,” he must perform, regardless of the truth of his wife’s infidelity. That’s not something to take lightly; nor is it an easy way to navigate through such a difficult task. There is simply no easy way to venture through it. He just has to “suck it up,” and move on. Artistry waits for no one-not at all. Therefore, one has to find a way to use the art for one’s own healing, while in performance mode. That’s a reality.

As with the performance of great art, it requires great artists. There are those legendary voices, which provide a way of moving through art; connecting it with Heaven’s domain, and presenting it in Earth’s reflection. They are voices, which do not come around often. In fact, they are based on the decisions of the Divine on when they are sent to bless the Earth. Therefore, when they come, oh how we do them a service in acknowledging their greatness, while they are alive. Documenting it so that such a memory is forever continued and treasured, throughout different generations. When you have those voices, with the power and treasure to perform such an opera as Paggliacci, through the character of “Canio,” then the work of touching the lives of those, having to continue their own shows, is an ongoing healing. Every time they see this opera-that scene-they are provided with the creativity, in spite of the pain. Of course, performers have that experience. It’s why their stories serve as examples for the every day experience.

Looking through the guise of one particular performer, the treasures of his tenor voice awakens the shackles in feeling that one is entrapped in pain. This notion that one must hide their feelings, in order to carry on, through the day is horrendous. And so, through one song, the audience is consistently granted permission to release their emotions. It doesn’t mean that the work ceases to be completed. What it does mean is that people are granted permission to release emotional pains of living, while continuing the creative work. Well, listen to one operatic legend, and his performance of the song, “Vesti La Guibba,” we gain that first hand knowledge, for this immersion.

Frederick Jagel

    You might also like...


    Oh, The Music That You Meet! Oh, The Minds You Seek! A Night Of Enchantment For the Metropolitan Opera, Nabucco’s Opera Live Screening At AUC! #AUCNext100

    by Lauren Clark

    Photograph and Song: Robert Merrill

    by Lauren Kaye Clark

    The Water Princess Of Universal Decor: Galina Vishnevskaya #Russia

    by Lauren Kaye Clark
    We use cookies on our site to give you the best experience possible. By continuing to browse the site, you agree to this use. For more information on how we use cookies, see our Privacy Policy.