Opera Meets Film: How Opera & Vocal Art Explore Fall From Grace In Federico Veiroj’s ‘The Moneychanger’

“Opera Meets Film” is a feature dedicated to exploring the way that opera has been employed in cinema. We will select a section or a film in its entirety, highlighting the impact that utilizing the operatic form or sections from an opera can alter our perception of a film that we are viewing. This week’s installment features Federico Veiroj’s “The Moneychanger.” The first frame of the Uruguayan film “The Moneychanger” is set in a massive desert with a group of men from biblical times walking. Moments later, these men enter a market and start to throw everything around as music from Anton Rubenstein’s “Christus” starts to roar in the background. The scene in question is this very {…}

Opera Meets Film: How ‘Les Contes d’Hoffmann’s’ Barcarolle Explores ‘The Whistlers’ Tragic Arc

“Opera Meets Film” is a feature dedicated to exploring the way that opera has been employed in cinema. We will select a section or a film in its entirety, highlighting the impact that utilizing the operatic form or sections from an opera can alter our perception of a film that we are viewing. This week’s installment features “The Whistlers.” Music is everywhere in Corneliu Porumboiu’s “The Whistlers.” The mafia at the core of the story communicates via whistling. The film ends during a music light show at the Gardens by the Bay in Singapore. There is a motel called Motel Opera where many of the film’s major sequences unravel and where opera becomes a major part {…}