... opera to its worth and subjectivity. Kerman recognises that 'no distinction is drawn publicly between works like Orfeo and The Magic Flute'2, describing opera as a huge umbrella with seemingly no sub-categories. In Kerman's book he discuses how the opera (or the musical aspect) plays to the drama on the stage - the music is used to develop and enhance the drama. This is demonstrated in the musical example shown on page 8 where the music reflects the agony of Desdemona. Tippett also has a similar view on the relationship between the music and the drama, stating that: 'in opera the musical schemes are always dictated by the situations'3 Although opera has been established as a marvellous and a heightened format of entertainment, Tippet later discusses the smaller, 'little moments' and the need for simplicity in order to engage the audience. This is seen in the naming of the characters of his ...

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