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Shadow Lord Blazze
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PostSubject: Sith Operas    Sat 16 Jul 2011, 9:23 am

((Bulk of article written by Darth Xaos, description from 'Exolus, Son of Sith' written by Darth Exolus))

Sith Opera as defined by the Standard Dictionary of Galactic Basic: “Sith Opera, n, 1 a: One of the operas chronicling the lives of historic Sith Lords produced by the Obsidian Union’s ministry of culture b: A colloquialism for a work of fiction or a situation that is marked by excessive drama, unusual reliance on antiquated forms, heavy-handed propaganda and/or historical inaccuracy, the term being derived from the most common criticisms of Sith Operas”


Depending on who one asks, Sith Operas are either some of the most inspired operas the Galaxy has ever seen or are unparalleled affronts to good taste. Of course, very few people actually form their opinions on Sith Operas based on an aesthetic basis and, instead, make up their mind based on whether they are sympathetic to the Galactic Alliance or the Obsidian Union. Stylistically, Sith Operas are noteable for two reasons. First, they are the first operas to be written entirely in the Sith language. Due to the fact that this language is fairly unique in its structure and pronunciation, it creates a very unique sound when combined with music, though listeners are typically split over whether this sound is angelic or cacophonous. Second, they tend to be written in musical styles that are centuries or even millennia out of date. As a result, Sith Operas are wildly popular with those that prefer historical operas while devotees of modernist and avant-garde opera have nothing but derision for them.

What follows is a complete list of Sith Operas:


Naga Sadow, Bringer of War: This Sith Opera is considered unique because it lacks the absolute moral certainty of other Sith Operas. Though the Jedi and the Republic are both portrayed as irredeemable villains, Naga Sadow is portrayed as well-intentioned but, ultimately, fool-hardy. Also, some Sith-sympathetic historians have criticized it for its portrayal of Ludo Kresh as overly staid but correct in his actions. The opera opens with the funeral of Marka Ragnos and closes with Sadow’s defeat at the end of the Great Hyperspace; no mention is made of his return to the Sith Empire or his time on Yavin IV.

Sidious: Sidious is barely regarded as a Sith Opera. Indeed, most agree that, if not for its subject matter, it would have been banned under the Aesthetic Protection Act. Utilizing a discordant, synthesized breed of music and requiring the theater’s stage lights to each be tinted a different color, Sidious is a far cry from the usual, Neo-Classical style of Sith Operas. It is also unique in that it covers the entirety of Darth Sidious’ life, from his birth to his final death, instead of just the height of his power. As a result, Sidious is also the longest Sith Opera, lasting six hours in total. The sole trait (aside from its protagonist) that marks Sidious as a Sith Opera is its absolute morality; Darth Sidious is correct and his enemies are wrong. Sidious also devotes a small but significant portion of its storyline to Darth Vader, who is portrayed as a man potent in the Force but lacking the will of a true Sith.

Exar Kun, Champion of Freedom: Exar Kun is viewed as the archetypal Sith Opera and is easily the most popular. Exar Kun also has the dubious honor of being considered the most historically inaccurate Sith Opera, portraying such spurious incidents such as Exar Kun slaying Jedi Master Thon, Ulic Qel-Droma dying rather than repenting his actions and a love affair between Exar Kun and Nomi Sunrider. Exar Kun’s music has been well received even amongst supporters of the Galactic Alliance, with the score that accompanies Exar Kun’s rescue of Ulic Qel-Droma from the Senate floor and Exar Kun’s transformation into a Dark Side Spirit being the most commonly commented upon. The opera covers Exar Kun’s life from late in his career as a Jedi to his “elevation” as a Dark Side Spirit.

Lumiya, Dark Star of the Empire: Easily the least performed Sith Opera, Lumiya is intended as a prequel to Caedus and, as such, only covers Lumiya’s life prior to meeting Jacen Solo. Despite its obscure status, Lumiya has something of a following within the Galactic Alliance since it is much less absolute in its moral overtones.

Caedus, Grim Hand of Justice: Critics of Sith Opera typically cite Caedus as being the single most vile piece of propaganda ever produced. The opera shows Darth Caedus’ actions as unfortunate but necessary, casting the Sith Lord in the role of tragic hero. Perhaps due to the contemporary nature of its subject matter, Caedus produces a strong reaction in its audience. In one notable instance, rioting broke out after a Corelian theater put on a production of Caedus. As a result of this incident, the Senate made it illegal to perform the opera within GA space. Despite this edict, underground productions still continue in the GA due to the fact that there are still those who supported Darth Caedus during his reign amongst the GA’s highest echelons of power.

Revan, Reviver of the Sith: Revan, while not as inflammatory as Caedus, is highly divisive. This stems from the fact that the opera claims that Darth Revan’s redemption was the result of brainwashing inflicted upon him by the Jedi when they retrieved his body following Darth Malak’s betrayal. The opera is notable, on a stylistic level, for its shifts in mood, beginning rather grimly with the Mandalorian wars, rising to hopefulness and triumph with Revan’s foundation of a New Sith Empire and returning to its original bleakness with Malak’s betrayal of his master.

Darth Exolus, Son of Sith: A potent recollection of the sole remaining combatant in a great war that nearly destroyed his people, mirroring the struggle between the Obsidian Union, with their quest to bring order and a new era of strength and prosperity to the galaxy, and their enemy, the farsighted Jedi, who time and time again, have let the galaxy stagnate and wither, nearly destroying it's inhabitants against a foolhardy war against harbingers of justice, and those who act for the greater good without second thought.

This first-hand tale flows with the notion of a being trapped in the belly of the beast, with little hope for survival, and the discovery of true power... freedom, in the power of the Dark Side, again mirroring the struggle between damnation, the Jedi and the Republic and salvation, the Sith and the Union.
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