What is a rock opera
![What is a rock opera](https://knopkazmeya.com/18.png)
![what is a rock opera what is a rock opera](http://cdn0.vox-cdn.com/assets/4728964/Full_Band_small_WEB.jpg)
While the production definitely does emphasise the importance of the Oath, their initial response to hearing of Beren’s Quest is basically a pragmatic one – emphasising to Finrod and the people of Nargothrond that it’s a suicide-mission. I also felt that Celegorm and Curufin are treated a bit roughly, at least in comparison with their portrayal in the source material. And in the case of Finrod, we are only dealing with a slice of the overarching story, one that is arguably difficult to present in a self-contained fashion). To make sense of it, you need to cover backstory. Beren and Lúthien, in contrast to, say, Túrin, is not exactly a stand-alone narrative within the wider First Age. (This is arguably a problem inherited from the material they are trying to adapt. The Enemy for the purpose of the production is Sauron, not Morgoth. It is also all very well to talk about the Quest going after the Silmarils in Morgoth’s Crown… but we never see Morgoth or the Silmarils (which makes the promotional poster a bit misleading). Otherwise references to the Ice will simply go over people’s heads.
![what is a rock opera what is a rock opera](http://img.20mn.fr/s_e1LtWkQKqb3D2gBFYN7g/2048x1536-fit_producteur-mozart-opera-rock-annonce-arret-tournee.jpg)
There is heavy reliance on the audience knowing the overall story – not just the Quest narrative, but the circumstances that led to Finrod being separated from Amarië in the first place. It’s just that I can imagine even casual Tolkien fans being a bit confused. I can follow it well enough, and I am sure their intended audience (hardcore Russian Tolkien geeks) could follow it too. I think the production’s major weakness is the handling of exposition. At least in terms of hair, anyway – it’s shorter than most artistic depictions, but feels like it fits. Oh, and 2014 Rock Opera Finrod is arguably closer to how most Silmarillion geeks view the titular character than the brief shots of Amazon Finrod. Given the competition (they make Thingol worse than the book), the titular character is basically reduced to single-handedly redeeming the entire Elven people in the face of Beren’s accusations. Much is also made of the thematic contrast between the honour-to-a-fault of Felagund and the treacherous shit-weasels Celegorm and Curufin. Appropriately, there is plenty of focus on the Power of Love, and contrasting the actions of the characters within a Fate/Free Will paradigm (Sauron is very keen on the notion that everything is bound by the Song of Creation). This particular rock opera is also the closest we will come to seeing Celegorm, Curufin, Thingol, Melian, First Age Sauron, Beren, Lúthien, and Amarië being acted live any time soon (unless Amazon get really enthusiastic with flash-backs). Which is saying something, seeing as this really is venturing into unknown waters, so far as Tolkien adaptations go. And while I am hardly an opera-buff, I think the overall concept works.
![what is a rock opera what is a rock opera](https://images-na.ssl-images-amazon.com/images/I/81NrgXvT-rL._SL1425_.jpg)
Well, my first thought is to admire the ambition, creativity and dedication of the production. Fortunately, the YouTube video enables English subtitles, so you can actually follow along without knowing Russian: You can see the entire thing – in its 2014 performance – here. The second picks up the story from there, until Lúthien’s defeat of Sauron. The first act deals with the story up until Finrod and Beren’s capture by Sauron. See here for more details – Ĭhalk this one up as “another obscure Tolkien adaptation getting reviewed on A Phuulish Fellow.” I swear, I can’t help myself.Īt a tad under a hundred minutes, Finrod the musical is a two act piece, focusing on Finrod Felagund’s role in the Quest for the Silmaril. Finrod (the musical) apparently premiered in 2001, and continued to run until 2017, when a second version appeared. Hence the 1985 Hobbit, the 1991 Animated Hobbit Pilot, and Khraniteli, the 1991 Fellowship of the Ring. The Tolkien Estate would never allow such a thing! Except that this is Russia we are talking about, and they have always had a somewhat fast-and-loose view of this whole licensing business. A stage adaptation of The Silmarillion? Unthinkable. Of the story of Beren and Lúthien, no less. And by treasures, I mean two Russian Rock Operas/Musicals. No sooner had I finished working my way through the infamous 1970 Boorman script of The Lord of the Rings than I stumble across these little treasures.
![What is a rock opera](https://knopkazmeya.com/18.png)