Then perhaps that is the problem. Because of my particular training as a musician, I don’t allow myself the luxury of gut-level reactions to music. For me musical pleasure, when it comes to classical music, has to be an integration of intellectual and emotional aspects. Where available I try to avail myself of an analysis of the work as a whole from the different aspects of how I emotionally react to the work, what the composer is doing (which draws on knowledge of musical history and musical theory, and if available knowledge of the ideological work behind the piece), whether he is succeeding at his goal or not, and whether or not it has a significant philosophical statement. So, for example, Beethoven’s “Fidelio” is a work that resounds deeply with me because not only of the emotional reactions I have to the music (“Mir ist so wunderbar”, for example, I find indescribably beautiful) but from all of the other fields collected. Kurt Weill’s “Street Scene”, for example, is a work I abhor-- although Weill can write beautifully-sounding music, “Street Scene” in all of the other fields is a malevolent little pill full of poison and hatred towards man and modern society, though not nearly as vicious as his other work, ‘The Threepenny Opera’ which is a Marxist critique of the capitalist world. Separated from Weill’s ideology is, for example, his set of songs including “It Never Was You,” which do not espouse the composer’s vile philosophy and which actually allow him to use his gifts for musical composition within a context that is not malevolent - so to my total enjoyment, his collections of songs are far superior than “Street Scene”, even though “Street Scene” is a very sophisticated score. (This is why I will never perform the role of Sam though I have been offered it, but would sing the tenor solo in the Ninth in the blink of an eye).
Then perhaps the problem there is imprecise language. What you said was, in exact terms, that “Fidelio is at best modest,” which is a statement that the opera in itself is of ‘modest’ quality- this is not an emotional reaction but rather an intellectual or academic judgment- it’s not an emotional term.
Regarding your first point, I think you made a good representation of the difference between a person with professional musical training and a music lover. You want to see the nuts and bolts and can understand them and appreciate them. I, being only a high school clarinet player (which was long ago), can read the music (I do have several Dover scores) and enjoy seeing some of the internal supporting instrumental parts, but it really only helps me hear more in the music. That is good if I enjoy the music.
I have met professional young musicians who recognized only the technical aspect of their craft. School didn’t really teach them how to enjoy the music. They follow, I guess, Stravinsky, whom, I have heard, said that music did not have an emotional element.
I will also own up to imprecision. When I said “modest” I was speaking within the parameters of my own personal view of the work. I do respect Beethoven and his creative and technical abilities and would not want to denigrate them. I have seen Fidelio and have one good recording. I am pleased with both. But in relation to other operas, to me it is a modest work. After reading of your regard for “Mir ist so wunderbar” I listened to a copy I own sung by Elisabeth Schwarzkopf, Kristen Flagstad, Josef Greindl, and Anton Dermota. I love ensembles.
I am pleased that you mentioned your professional vocation. (If I could sing at all I would sing in the chorus of the Ninth with as equal a passion as I would in the Verdi Requiem. What about the tenor solo there?) Perhaps you could open a new thread and talk about your experiences, points you find interesting, and singers you admire.