How to Sing the Practical Sound of the Enigma By Alessio Tommasoli

  1. Recitativo and Arioso

      Hence in the current moment of the opera the lead voice of the character fills up the whole atmosphere, because the reader embodies the will to power through his own existential experience, as one of the deepest ‘accidents’ that he can live in his life, that is love.

      It is a very particular moment of the opera in which “Recitativo” and “Arioso” join together in order to involve the sound of the opera in a speech that enhances the passionate nature of the will to power. Here the reader understands through his own flesh how concrete can be such a philosophical concept and how deeply it lies in his own, so much that he does not expresses it through some words.

      It is a thought indeed that he whispers silently to his own: Love is not the need of another person, nor the satisfaction of another person’s need; but, yes, Love is offering him a ‘extra’ of yourself, it is giving him the existential fullness of yourself that does not requires any biological necessity.

      In such a thought Appetite and Passion join together and make the feeling of Love an existential equivalent of the will to power concept, because the Appetite’s ‘joy’ and ‘falling in love’ take their right place as parts of the whole that is the more complex determination of Passion’s ‘Love’. In this way the reader gets the will to power as something completely different from the ‘necessity’ and he gets it indeed as a free ‘gift’[22], a squander.

  1. Concertato

      Hence the will to power lies on the balance between Appetite and Passion. However they are something more than just two feelings: and the reader understands their nature only since he gets their dialectical relation: this latter does not produce any synthesis that would impoverish the thesis and the antithesis, but indeed it enhances both. Their dialectical movement makes a human being able to continuous fling beyond himself but in the continuous mastery of himself, such an incessant overstepping of becoming and a resolute conservation of being.

      Here is the “Concertato” of the second act in which the reader is a higher man that sings through a complex game of voices which lie in his mind as thoughts or go out in words, voices that remain silent psychological poses or become actions. His voice comes and goes, moves and remains still in a dialectical sound where does not exist any motion without a stillness that includes it.

      Thus the reader sing a sound that continually points him towards brand new experiences keeping constantly the awareness of all his past experiences. The main theme is the same of the first act’s final moment, a future built on the present instant that includes the whole past whose melody plays: ““You must want what you have been in order to be what you want”. But the character has definitely changed in this second act, so that the melody he sings seems to draw an image of the will to power concept clearer than before, because now it passes through the best human expression, the feeling, and become ‘Big Passion’ that is the Nietzsche’s Will to Power. It is a quiet movement – not for insecurity or slowness – for the self-confidence of controlling yourself that leaps you towards other things and keeps them under the control of your actions.[23]

  1. Finale

      In this way, the conceptual character of the reader fulfils the whole opera through his own singing, as well as the human being fulfils the will to power concept through his action. Hence it is the realization of Nietzsche’s philosophy in the agreement of the tension between Aesthetics and Ethic.

      Therefore the will to power manifests itself in Nietzsche’s opera as the internalisation and the expression of the reader, that makes the concept a feeling, as the ‘Big Passion’, and an artwork, as the ‘Big Style’. The Attic Tragedy of the first act indeed becomes an actual moment of the second act, exactly the “Finale”. That is because the Attic Tragedy here is fulfilled by the reader’s singing. Through this singing he plays the contradiction between the Dionysian and the Apollonian spirits: the reader goes beyond himself maintaining himself in a quiet control of the incessant dynamism of life, as well as the Dionysian’s creative inebriation takes a form from the Apollonian’s tangible beauty.

      Here is the majestic moment of the opera in which all its conceptual characters sing together the whole sound of the enigma, as if it were the existence itself. So that the different voices of Dionysus, of Apollo, of the Greek man, of Zarathustra and of the reader too, become just one impressive lead voice or a chorus that joins the imposing playing of a symphonic orchestra. Such a majestic chorus enhances the opera as the most clear form of the human state through which human being can watch around him and become self-conscious. Their singing is the glorification of the opera itself, because it is art and art is the most transparent form of the will to power.[24]

      Hence the reader is an essential part of an art composition that, through its aesthetic quality, goes beyond itself and reaches an ethical quality based on the will to overstep and preserve at the same time the ‘becoming’ through the ‘being’.

  1. Intermezzo

      The theatre’s curtains falls slowly on the last note of the collective symphony that prolongs itself until the curtains completely darkens the stage. All the characters leave the proscenium, the orchestra ceases and the sound of the enigma seems to be over. The reader, like a theatre’s spectator, stands up to reach the exit and comes back to his everyday life.

      Nevertheless, when he is out, under the sun’s rays of his history and the clouds of his country, in front of the wind of time and space he lives, he can still listen to that sound. As if the melody he sang was an unbreakable refrain full of sense that accompanies every act he makes. As if the will to power were a benign virus that infects all his actions. As if he were no longer reader, no longer spectator and no longer man; but a creator, an artist indeed, a higher man, for sure. As if the opera were not over at all and if it went on in a third act on the stage of his life, in which he could maybe become, finally, an Übermensch.

Pages ( 6 of 7 ): « Previous1 ... 45 6 7Next »