A Night Without Nessun Dorma: A Cry for What's Expected from Opera Audiences in Modern Times
The opera houses in the UK, particularly the Royal Opera House (ROH), are witnessing a shift in audience behavior. On Tuesday night, an unexpected incident occurred during a performance of Puccini's Turandot when tenor Roberto Alagna fell ill and was forced to withdraw. In his place, Richard Hetherington took on the role, but the third act resumed without Nessun Dorma due to its technical difficulty, prompting boos from some audience members.
The backlash was intense, with many expressing their disappointment that a show-stopping moment had been cut short. However, the criticism seemed to be directed at the ROH's decision rather than Hetherington personally. The issue of having a suitable cover for every performance has raised questions about what is expected from opera audiences in modern times.
Opera historian Flora Willson points out that booing is an integral part of the tradition, and while it may seem harsh on the stand-in singer, the impact can be more significant in a live performance. She compares the way audiences respond to opera singers to football fans, noting that yelling and chanting doesn't necessarily affect the game's continuation, whereas boos can disrupt an unamplified musical performance.
The shift towards being more reserved and less vocal has altered audience behavior over the centuries. Opera houses now operate on a different model than their historical counterparts, with broader changes in audience demographics and classical music behavior contributing to this transformation.
Former English National Opera artistic director John Berry notes that booing singers can be "distasteful," especially when social media gives audiences an outlet to vent their dissatisfaction. Opera critic Tim Ashley expresses similar concerns about pantomime-type booing, particularly towards characters rather than performers.
Martin Kettle believes that while booing can reflect a passion for the desired outcome, it often descends into boorish behavior and reflects a reactionary, narrow view of what opera should be like.
The ROH's experience highlights the ongoing debate about the place of Nessun Dorma in modern opera. The iconic aria has been the main reason many people attend Turandot performances, making its sudden absence all the more jarring. As Willson puts it, this incident was an "operatic perfect storm" – a combination of high-profile performer, popular opera, and well-known aria that culminated in a dramatic and unexpected twist.
The ROH's decision to omit Nessun Dorma has sparked a wider conversation about what audiences expect from opera performances. As the art form continues to evolve, it remains to be seen how this incident will shape the future of opera and its relationship with its audience.
The opera houses in the UK, particularly the Royal Opera House (ROH), are witnessing a shift in audience behavior. On Tuesday night, an unexpected incident occurred during a performance of Puccini's Turandot when tenor Roberto Alagna fell ill and was forced to withdraw. In his place, Richard Hetherington took on the role, but the third act resumed without Nessun Dorma due to its technical difficulty, prompting boos from some audience members.
The backlash was intense, with many expressing their disappointment that a show-stopping moment had been cut short. However, the criticism seemed to be directed at the ROH's decision rather than Hetherington personally. The issue of having a suitable cover for every performance has raised questions about what is expected from opera audiences in modern times.
Opera historian Flora Willson points out that booing is an integral part of the tradition, and while it may seem harsh on the stand-in singer, the impact can be more significant in a live performance. She compares the way audiences respond to opera singers to football fans, noting that yelling and chanting doesn't necessarily affect the game's continuation, whereas boos can disrupt an unamplified musical performance.
The shift towards being more reserved and less vocal has altered audience behavior over the centuries. Opera houses now operate on a different model than their historical counterparts, with broader changes in audience demographics and classical music behavior contributing to this transformation.
Former English National Opera artistic director John Berry notes that booing singers can be "distasteful," especially when social media gives audiences an outlet to vent their dissatisfaction. Opera critic Tim Ashley expresses similar concerns about pantomime-type booing, particularly towards characters rather than performers.
Martin Kettle believes that while booing can reflect a passion for the desired outcome, it often descends into boorish behavior and reflects a reactionary, narrow view of what opera should be like.
The ROH's experience highlights the ongoing debate about the place of Nessun Dorma in modern opera. The iconic aria has been the main reason many people attend Turandot performances, making its sudden absence all the more jarring. As Willson puts it, this incident was an "operatic perfect storm" – a combination of high-profile performer, popular opera, and well-known aria that culminated in a dramatic and unexpected twist.
The ROH's decision to omit Nessun Dorma has sparked a wider conversation about what audiences expect from opera performances. As the art form continues to evolve, it remains to be seen how this incident will shape the future of opera and its relationship with its audience.
. I get that Nessun Dorma is a super iconic part of Turandot, but booing the singers for not doing it just because they're stand-ins? That's harsh 
. I mean, what do we expect from opera singers - perfection? It's like football fans complaining about the ref when they lose 
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. Instead of focusing on booing them, we should be having a conversation about how opera houses can improve their performances and provide better support for singers in the future 
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. The fact that it's still drawing big crowds and people are passionate about it shows that there's room for all kinds of styles and interpretations. Let's just enjoy the show and try to understand where everyone's coming from, yeah? 
, I mean, can't we just relax a bit during an opera performance? It feels like people have lost sight of why they're there in the first place - to enjoy some beautiful music and maybe be moved by a story. All this booing and hollering is just getting out of hand 
. And I'm with Martin Kettle, if we want to call out something that's not up to par, can't we do it in a more constructive way? Like, express your opinion on social media or after the show, rather than disrupting the performance itself 
that's so harsh!!! I remember watching Turandot at the ROH last yr & Nessun Dorma was literally EVERYTHING!!! it gave me CHILLS!!! 
how could they just skip it?!?! I get that it might be hard 4 the singer but c'mon audience members r not exactly saints either 
also what's w/ all these ppl saying booing is part of tradition?? 
i mean i know opera history n all but times r changing!!! 
The ROH should be praised for trying something new and thinking of their singers' well-being. It's not about being a die-hard fan or hater, it's just about enjoying the performance 
. Maybe opera houses can find a balance between tradition and innovation? 
I'm not saying it's the singer's fault or anything, but come on, folks, it's just opera. Can't we all just get along? 
The ROH is trying to adapt to modern times, and if that means having a suitable cover for every performance, then so be it. 
. It's like when you're waiting for your fave band to hit the stage at a concert and then they announce it's sold out... you know? 
The thing is, opera houses are totally right to prioritize the performance over the individual singer - it's all about putting on an amazing show for everyone 
. It's all about respect, innit?
. It's all about setting expectations for the show, you know? The ROH should've prepared a backup singer for those big moments 
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? Maybe opera houses just need to find a better way to handle these kinds of situations so everyone can enjoy the show without all the drama 
. It's not like they weren't prepared for it or anything! 
The thing is, we live in a world where everyone's all about being social media-savvy and immediately sharing their thoughts, so when someone gets booed, it just gets amplified online 
. I think the ROH did what they had to do, though - safety first, right? 