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Direction: Read the passage carefully and answer the questionsAs opera becomes more popular in America the scarcity of theaters and the unconscionably costly logistics of the lyric stage make it difficult to meet the demand. Many a good—sized and well—to—do community would be able to operate and maintain a modest but live opera theater, but are unwilling to do so because it would unfavorably compare with the splendors of New York's Metropolitan Opera.It is not realized that the rich operatic culture of Italy and Germany is mainly due to their many small municipal theaters which alternate repertory theater with opera. These circumstances have led to concert or "semi—staged " performances which, formerly an exception, now occupy entire companies expressly formed for this purpose. However, stage music, real operatic music, often fails to exert its full power in the frozen formality of the concert platform. In a true opera the particular charm and power of the music does not come through without staging and acting, for gesture is an expression of feeling, and the decor and costumes summarize the external aspects, providing a vision of the whole action. Both are to a considerable degree determined by the music, but they also complement it.An opera is a play in music. If it is presented in concert version, then it should not offer a half—hearted gesture towards the theater. Indeed, the "partly staged " performances are even more unsatisfactory than the concert variety. The tenor is all excited, but you do not know why; the soprano is obviously dying, but she remains on her feet. Nor does the stationary chorus, its members turning the pages of their scores without looking at the person they sing about, contribute to the illusion.Different aesthetic laws of governance apply to concert music and theatrical music, for they are incongruous worlds calling for an entirely different sort of imagination from both performers and audience. Opera is theater, the most involved, elaborate, and exciting form of theater. The Italian term "opera " is far more inclusive than its English interpretation, for it embraces not only the musical score but the whole theater, "the work. "Without the stage, paucity of musical ideas immediately becomes evident, often painfully so. Take for instance Richard Strauss, some of whose late operas are being performed in concerts. Strauss was a composer who knew every facet of the lyric stage as few have known it, yet what can be quite pleasant on the stage, even if it is not particularly inventive, appears bare and contrived when removed from its natural habitat.Some may say that the end justifies the means. I can see merit in the concert performance of an opera which otherwise could not hope to be heard, or of one deficient in true theatrical qualities yet of genuine musical value. But neither Strauss, nor Bellini, nor Donizetti qualifies for such a role. Even if we forget the vital function of staging, it is practically impossible, for purely musical reasons, to present such a work on the concert platform. The large orchestra belongs in the pit; when placed on the stage, together with the singers, it makes their position almost untenable, even when led by an experienced opera conductor.Q. Bellini's works have historically been considered to possess both true theatrical quality and genuine musical value. What is the relevance of this information to the passage?a)It supports the author's claim that many great works have no hope of being heard.b)It supports the author's claim that Bellini does not meet his criteria for concert performance.c)It weakens the author's claim that Strauss and Bellini exhibit a paucity of musical ideas.d)It weakens the author's claim that presenting an opera in concert can tarnish its image.Correct answer is option 'B'. Can you explain this answer? for CAT 2024 is part of CAT preparation. The Question and answers have been prepared according to the CAT exam syllabus. Information about Direction: Read the passage carefully and answer the questionsAs opera becomes more popular in America the scarcity of theaters and the unconscionably costly logistics of the lyric stage make it difficult to meet the demand. Many a good—sized and well—to—do community would be able to operate and maintain a modest but live opera theater, but are unwilling to do so because it would unfavorably compare with the splendors of New York's Metropolitan Opera.It is not realized that the rich operatic culture of Italy and Germany is mainly due to their many small municipal theaters which alternate repertory theater with opera. These circumstances have led to concert or "semi—staged " performances which, formerly an exception, now occupy entire companies expressly formed for this purpose. However, stage music, real operatic music, often fails to exert its full power in the frozen formality of the concert platform. In a true opera the particular charm and power of the music does not come through without staging and acting, for gesture is an expression of feeling, and the decor and costumes summarize the external aspects, providing a vision of the whole action. Both are to a considerable degree determined by the music, but they also complement it.An opera is a play in music. If it is presented in concert version, then it should not offer a half—hearted gesture towards the theater. Indeed, the "partly staged " performances are even more unsatisfactory than the concert variety. The tenor is all excited, but you do not know why; the soprano is obviously dying, but she remains on her feet. Nor does the stationary chorus, its members turning the pages of their scores without looking at the person they sing about, contribute to the illusion.Different aesthetic laws of governance apply to concert music and theatrical music, for they are incongruous worlds calling for an entirely different sort of imagination from both performers and audience. Opera is theater, the most involved, elaborate, and exciting form of theater. The Italian term "opera " is far more inclusive than its English interpretation, for it embraces not only the musical score but the whole theater, "the work. "Without the stage, paucity of musical ideas immediately becomes evident, often painfully so. Take for instance Richard Strauss, some of whose late operas are being performed in concerts. Strauss was a composer who knew every facet of the lyric stage as few have known it, yet what can be quite pleasant on the stage, even if it is not particularly inventive, appears bare and contrived when removed from its natural habitat.Some may say that the end justifies the means. I can see merit in the concert performance of an opera which otherwise could not hope to be heard, or of one deficient in true theatrical qualities yet of genuine musical value. But neither Strauss, nor Bellini, nor Donizetti qualifies for such a role. Even if we forget the vital function of staging, it is practically impossible, for purely musical reasons, to present such a work on the concert platform. The large orchestra belongs in the pit; when placed on the stage, together with the singers, it makes their position almost untenable, even when led by an experienced opera conductor.Q. Bellini's works have historically been considered to possess both true theatrical quality and genuine musical value. What is the relevance of this information to the passage?a)It supports the author's claim that many great works have no hope of being heard.b)It supports the author's claim that Bellini does not meet his criteria for concert performance.c)It weakens the author's claim that Strauss and Bellini exhibit a paucity of musical ideas.d)It weakens the author's claim that presenting an opera in concert can tarnish its image.Correct answer is option 'B'. Can you explain this answer? covers all topics & solutions for CAT 2024 Exam. Find important definitions, questions, meanings, examples, exercises and tests below for Direction: Read the passage carefully and answer the questionsAs opera becomes more popular in America the scarcity of theaters and the unconscionably costly logistics of the lyric stage make it difficult to meet the demand. Many a good—sized and well—to—do community would be able to operate and maintain a modest but live opera theater, but are unwilling to do so because it would unfavorably compare with the splendors of New York's Metropolitan Opera.It is not realized that the rich operatic culture of Italy and Germany is mainly due to their many small municipal theaters which alternate repertory theater with opera. These circumstances have led to concert or "semi—staged " performances which, formerly an exception, now occupy entire companies expressly formed for this purpose. However, stage music, real operatic music, often fails to exert its full power in the frozen formality of the concert platform. In a true opera the particular charm and power of the music does not come through without staging and acting, for gesture is an expression of feeling, and the decor and costumes summarize the external aspects, providing a vision of the whole action. Both are to a considerable degree determined by the music, but they also complement it.An opera is a play in music. If it is presented in concert version, then it should not offer a half—hearted gesture towards the theater. Indeed, the "partly staged " performances are even more unsatisfactory than the concert variety. The tenor is all excited, but you do not know why; the soprano is obviously dying, but she remains on her feet. Nor does the stationary chorus, its members turning the pages of their scores without looking at the person they sing about, contribute to the illusion.Different aesthetic laws of governance apply to concert music and theatrical music, for they are incongruous worlds calling for an entirely different sort of imagination from both performers and audience. Opera is theater, the most involved, elaborate, and exciting form of theater. The Italian term "opera " is far more inclusive than its English interpretation, for it embraces not only the musical score but the whole theater, "the work. "Without the stage, paucity of musical ideas immediately becomes evident, often painfully so. Take for instance Richard Strauss, some of whose late operas are being performed in concerts. Strauss was a composer who knew every facet of the lyric stage as few have known it, yet what can be quite pleasant on the stage, even if it is not particularly inventive, appears bare and contrived when removed from its natural habitat.Some may say that the end justifies the means. I can see merit in the concert performance of an opera which otherwise could not hope to be heard, or of one deficient in true theatrical qualities yet of genuine musical value. But neither Strauss, nor Bellini, nor Donizetti qualifies for such a role. Even if we forget the vital function of staging, it is practically impossible, for purely musical reasons, to present such a work on the concert platform. The large orchestra belongs in the pit; when placed on the stage, together with the singers, it makes their position almost untenable, even when led by an experienced opera conductor.Q. Bellini's works have historically been considered to possess both true theatrical quality and genuine musical value. What is the relevance of this information to the passage?a)It supports the author's claim that many great works have no hope of being heard.b)It supports the author's claim that Bellini does not meet his criteria for concert performance.c)It weakens the author's claim that Strauss and Bellini exhibit a paucity of musical ideas.d)It weakens the author's claim that presenting an opera in concert can tarnish its image.Correct answer is option 'B'. Can you explain this answer?.

Solutions for Direction: Read the passage carefully and answer the questionsAs opera becomes more popular in America the scarcity of theaters and the unconscionably costly logistics of the lyric stage make it difficult to meet the demand. Many a good—sized and well—to—do community would be able to operate and maintain a modest but live opera theater, but are unwilling to do so because it would unfavorably compare with the splendors of New York's Metropolitan Opera.It is not realized that the rich operatic culture of Italy and Germany is mainly due to their many small municipal theaters which alternate repertory theater with opera. These circumstances have led to concert or "semi—staged " performances which, formerly an exception, now occupy entire companies expressly formed for this purpose. However, stage music, real operatic music, often fails to exert its full power in the frozen formality of the concert platform. In a true opera the particular charm and power of the music does not come through without staging and acting, for gesture is an expression of feeling, and the decor and costumes summarize the external aspects, providing a vision of the whole action. Both are to a considerable degree determined by the music, but they also complement it.An opera is a play in music. If it is presented in concert version, then it should not offer a half—hearted gesture towards the theater. Indeed, the "partly staged " performances are even more unsatisfactory than the concert variety. The tenor is all excited, but you do not know why; the soprano is obviously dying, but she remains on her feet. Nor does the stationary chorus, its members turning the pages of their scores without looking at the person they sing about, contribute to the illusion.Different aesthetic laws of governance apply to concert music and theatrical music, for they are incongruous worlds calling for an entirely different sort of imagination from both performers and audience. Opera is theater, the most involved, elaborate, and exciting form of theater. The Italian term "opera " is far more inclusive than its English interpretation, for it embraces not only the musical score but the whole theater, "the work. "Without the stage, paucity of musical ideas immediately becomes evident, often painfully so. Take for instance Richard Strauss, some of whose late operas are being performed in concerts. Strauss was a composer who knew every facet of the lyric stage as few have known it, yet what can be quite pleasant on the stage, even if it is not particularly inventive, appears bare and contrived when removed from its natural habitat.Some may say that the end justifies the means. I can see merit in the concert performance of an opera which otherwise could not hope to be heard, or of one deficient in true theatrical qualities yet of genuine musical value. But neither Strauss, nor Bellini, nor Donizetti qualifies for such a role. Even if we forget the vital function of staging, it is practically impossible, for purely musical reasons, to present such a work on the concert platform. The large orchestra belongs in the pit; when placed on the stage, together with the singers, it makes their position almost untenable, even when led by an experienced opera conductor.Q. Bellini's works have historically been considered to possess both true theatrical quality and genuine musical value. What is the relevance of this information to the passage?a)It supports the author's claim that many great works have no hope of being heard.b)It supports the author's claim that Bellini does not meet his criteria for concert performance.c)It weakens the author's claim that Strauss and Bellini exhibit a paucity of musical ideas.d)It weakens the author's claim that presenting an opera in concert can tarnish its image.Correct answer is option 'B'. Can you explain this answer? in English & in Hindi are available as part of our courses for CAT. Download more important topics, notes, lectures and mock test series for CAT Exam by signing up for free.

Here you can find the meaning of Direction: Read the passage carefully and answer the questionsAs opera becomes more popular in America the scarcity of theaters and the unconscionably costly logistics of the lyric stage make it difficult to meet the demand. Many a good—sized and well—to—do community would be able to operate and maintain a modest but live opera theater, but are unwilling to do so because it would unfavorably compare with the splendors of New York's Metropolitan Opera.It is not realized that the rich operatic culture of Italy and Germany is mainly due to their many small municipal theaters which alternate repertory theater with opera. These circumstances have led to concert or "semi—staged " performances which, formerly an exception, now occupy entire companies expressly formed for this purpose. However, stage music, real operatic music, often fails to exert its full power in the frozen formality of the concert platform. In a true opera the particular charm and power of the music does not come through without staging and acting, for gesture is an expression of feeling, and the decor and costumes summarize the external aspects, providing a vision of the whole action. Both are to a considerable degree determined by the music, but they also complement it.An opera is a play in music. If it is presented in concert version, then it should not offer a half—hearted gesture towards the theater. Indeed, the "partly staged " performances are even more unsatisfactory than the concert variety. The tenor is all excited, but you do not know why; the soprano is obviously dying, but she remains on her feet. Nor does the stationary chorus, its members turning the pages of their scores without looking at the person they sing about, contribute to the illusion.Different aesthetic laws of governance apply to concert music and theatrical music, for they are incongruous worlds calling for an entirely different sort of imagination from both performers and audience. Opera is theater, the most involved, elaborate, and exciting form of theater. The Italian term "opera " is far more inclusive than its English interpretation, for it embraces not only the musical score but the whole theater, "the work. "Without the stage, paucity of musical ideas immediately becomes evident, often painfully so. Take for instance Richard Strauss, some of whose late operas are being performed in concerts. Strauss was a composer who knew every facet of the lyric stage as few have known it, yet what can be quite pleasant on the stage, even if it is not particularly inventive, appears bare and contrived when removed from its natural habitat.Some may say that the end justifies the means. I can see merit in the concert performance of an opera which otherwise could not hope to be heard, or of one deficient in true theatrical qualities yet of genuine musical value. But neither Strauss, nor Bellini, nor Donizetti qualifies for such a role. Even if we forget the vital function of staging, it is practically impossible, for purely musical reasons, to present such a work on the concert platform. The large orchestra belongs in the pit; when placed on the stage, together with the singers, it makes their position almost untenable, even when led by an experienced opera conductor.Q. Bellini's works have historically been considered to possess both true theatrical quality and genuine musical value. What is the relevance of this information to the passage?a)It supports the author's claim that many great works have no hope of being heard.b)It supports the author's claim that Bellini does not meet his criteria for concert performance.c)It weakens the author's claim that Strauss and Bellini exhibit a paucity of musical ideas.d)It weakens the author's claim that presenting an opera in concert can tarnish its image.Correct answer is option 'B'. Can you explain this answer? defined & explained in the simplest way possible. Besides giving the explanation of Direction: Read the passage carefully and answer the questionsAs opera becomes more popular in America the scarcity of theaters and the unconscionably costly logistics of the lyric stage make it difficult to meet the demand. Many a good—sized and well—to—do community would be able to operate and maintain a modest but live opera theater, but are unwilling to do so because it would unfavorably compare with the splendors of New York's Metropolitan Opera.It is not realized that the rich operatic culture of Italy and Germany is mainly due to their many small municipal theaters which alternate repertory theater with opera. These circumstances have led to concert or "semi—staged " performances which, formerly an exception, now occupy entire companies expressly formed for this purpose. However, stage music, real operatic music, often fails to exert its full power in the frozen formality of the concert platform. In a true opera the particular charm and power of the music does not come through without staging and acting, for gesture is an expression of feeling, and the decor and costumes summarize the external aspects, providing a vision of the whole action. Both are to a considerable degree determined by the music, but they also complement it.An opera is a play in music. If it is presented in concert version, then it should not offer a half—hearted gesture towards the theater. Indeed, the "partly staged " performances are even more unsatisfactory than the concert variety. The tenor is all excited, but you do not know why; the soprano is obviously dying, but she remains on her feet. Nor does the stationary chorus, its members turning the pages of their scores without looking at the person they sing about, contribute to the illusion.Different aesthetic laws of governance apply to concert music and theatrical music, for they are incongruous worlds calling for an entirely different sort of imagination from both performers and audience. Opera is theater, the most involved, elaborate, and exciting form of theater. The Italian term "opera " is far more inclusive than its English interpretation, for it embraces not only the musical score but the whole theater, "the work. "Without the stage, paucity of musical ideas immediately becomes evident, often painfully so. Take for instance Richard Strauss, some of whose late operas are being performed in concerts. Strauss was a composer who knew every facet of the lyric stage as few have known it, yet what can be quite pleasant on the stage, even if it is not particularly inventive, appears bare and contrived when removed from its natural habitat.Some may say that the end justifies the means. I can see merit in the concert performance of an opera which otherwise could not hope to be heard, or of one deficient in true theatrical qualities yet of genuine musical value. But neither Strauss, nor Bellini, nor Donizetti qualifies for such a role. Even if we forget the vital function of staging, it is practically impossible, for purely musical reasons, to present such a work on the concert platform. The large orchestra belongs in the pit; when placed on the stage, together with the singers, it makes their position almost untenable, even when led by an experienced opera conductor.Q. Bellini's works have historically been considered to possess both true theatrical quality and genuine musical value. What is the relevance of this information to the passage?a)It supports the author's claim that many great works have no hope of being heard.b)It supports the author's claim that Bellini does not meet his criteria for concert performance.c)It weakens the author's claim that Strauss and Bellini exhibit a paucity of musical ideas.d)It weakens the author's claim that presenting an opera in concert can tarnish its image.Correct answer is option 'B'. Can you explain this answer?, a detailed solution for Direction: Read the passage carefully and answer the questionsAs opera becomes more popular in America the scarcity of theaters and the unconscionably costly logistics of the lyric stage make it difficult to meet the demand. Many a good—sized and well—to—do community would be able to operate and maintain a modest but live opera theater, but are unwilling to do so because it would unfavorably compare with the splendors of New York's Metropolitan Opera.It is not realized that the rich operatic culture of Italy and Germany is mainly due to their many small municipal theaters which alternate repertory theater with opera. These circumstances have led to concert or "semi—staged " performances which, formerly an exception, now occupy entire companies expressly formed for this purpose. However, stage music, real operatic music, often fails to exert its full power in the frozen formality of the concert platform. In a true opera the particular charm and power of the music does not come through without staging and acting, for gesture is an expression of feeling, and the decor and costumes summarize the external aspects, providing a vision of the whole action. Both are to a considerable degree determined by the music, but they also complement it.An opera is a play in music. If it is presented in concert version, then it should not offer a half—hearted gesture towards the theater. Indeed, the "partly staged " performances are even more unsatisfactory than the concert variety. The tenor is all excited, but you do not know why; the soprano is obviously dying, but she remains on her feet. Nor does the stationary chorus, its members turning the pages of their scores without looking at the person they sing about, contribute to the illusion.Different aesthetic laws of governance apply to concert music and theatrical music, for they are incongruous worlds calling for an entirely different sort of imagination from both performers and audience. Opera is theater, the most involved, elaborate, and exciting form of theater. The Italian term "opera " is far more inclusive than its English interpretation, for it embraces not only the musical score but the whole theater, "the work. "Without the stage, paucity of musical ideas immediately becomes evident, often painfully so. Take for instance Richard Strauss, some of whose late operas are being performed in concerts. Strauss was a composer who knew every facet of the lyric stage as few have known it, yet what can be quite pleasant on the stage, even if it is not particularly inventive, appears bare and contrived when removed from its natural habitat.Some may say that the end justifies the means. I can see merit in the concert performance of an opera which otherwise could not hope to be heard, or of one deficient in true theatrical qualities yet of genuine musical value. But neither Strauss, nor Bellini, nor Donizetti qualifies for such a role. Even if we forget the vital function of staging, it is practically impossible, for purely musical reasons, to present such a work on the concert platform. The large orchestra belongs in the pit; when placed on the stage, together with the singers, it makes their position almost untenable, even when led by an experienced opera conductor.Q. Bellini's works have historically been considered to possess both true theatrical quality and genuine musical value. What is the relevance of this information to the passage?a)It supports the author's claim that many great works have no hope of being heard.b)It supports the author's claim that Bellini does not meet his criteria for concert performance.c)It weakens the author's claim that Strauss and Bellini exhibit a paucity of musical ideas.d)It weakens the author's claim that presenting an opera in concert can tarnish its image.Correct answer is option 'B'. Can you explain this answer? has been provided alongside types of Direction: Read the passage carefully and answer the questionsAs opera becomes more popular in America the scarcity of theaters and the unconscionably costly logistics of the lyric stage make it difficult to meet the demand. Many a good—sized and well—to—do community would be able to operate and maintain a modest but live opera theater, but are unwilling to do so because it would unfavorably compare with the splendors of New York's Metropolitan Opera.It is not realized that the rich operatic culture of Italy and Germany is mainly due to their many small municipal theaters which alternate repertory theater with opera. These circumstances have led to concert or "semi—staged " performances which, formerly an exception, now occupy entire companies expressly formed for this purpose. However, stage music, real operatic music, often fails to exert its full power in the frozen formality of the concert platform. In a true opera the particular charm and power of the music does not come through without staging and acting, for gesture is an expression of feeling, and the decor and costumes summarize the external aspects, providing a vision of the whole action. Both are to a considerable degree determined by the music, but they also complement it.An opera is a play in music. If it is presented in concert version, then it should not offer a half—hearted gesture towards the theater. Indeed, the "partly staged " performances are even more unsatisfactory than the concert variety. The tenor is all excited, but you do not know why; the soprano is obviously dying, but she remains on her feet. Nor does the stationary chorus, its members turning the pages of their scores without looking at the person they sing about, contribute to the illusion.Different aesthetic laws of governance apply to concert music and theatrical music, for they are incongruous worlds calling for an entirely different sort of imagination from both performers and audience. Opera is theater, the most involved, elaborate, and exciting form of theater. The Italian term "opera " is far more inclusive than its English interpretation, for it embraces not only the musical score but the whole theater, "the work. "Without the stage, paucity of musical ideas immediately becomes evident, often painfully so. Take for instance Richard Strauss, some of whose late operas are being performed in concerts. Strauss was a composer who knew every facet of the lyric stage as few have known it, yet what can be quite pleasant on the stage, even if it is not particularly inventive, appears bare and contrived when removed from its natural habitat.Some may say that the end justifies the means. I can see merit in the concert performance of an opera which otherwise could not hope to be heard, or of one deficient in true theatrical qualities yet of genuine musical value. But neither Strauss, nor Bellini, nor Donizetti qualifies for such a role. Even if we forget the vital function of staging, it is practically impossible, for purely musical reasons, to present such a work on the concert platform. The large orchestra belongs in the pit; when placed on the stage, together with the singers, it makes their position almost untenable, even when led by an experienced opera conductor.Q. Bellini's works have historically been considered to possess both true theatrical quality and genuine musical value. What is the relevance of this information to the passage?a)It supports the author's claim that many great works have no hope of being heard.b)It supports the author's claim that Bellini does not meet his criteria for concert performance.c)It weakens the author's claim that Strauss and Bellini exhibit a paucity of musical ideas.d)It weakens the author's claim that presenting an opera in concert can tarnish its image.Correct answer is option 'B'. Can you explain this answer? theory, EduRev gives you an ample number of questions to practice Direction: Read the passage carefully and answer the questionsAs opera becomes more popular in America the scarcity of theaters and the unconscionably costly logistics of the lyric stage make it difficult to meet the demand. Many a good—sized and well—to—do community would be able to operate and maintain a modest but live opera theater, but are unwilling to do so because it would unfavorably compare with the splendors of New York's Metropolitan Opera.It is not realized that the rich operatic culture of Italy and Germany is mainly due to their many small municipal theaters which alternate repertory theater with opera. These circumstances have led to concert or "semi—staged " performances which, formerly an exception, now occupy entire companies expressly formed for this purpose. However, stage music, real operatic music, often fails to exert its full power in the frozen formality of the concert platform. In a true opera the particular charm and power of the music does not come through without staging and acting, for gesture is an expression of feeling, and the decor and costumes summarize the external aspects, providing a vision of the whole action. Both are to a considerable degree determined by the music, but they also complement it.An opera is a play in music. If it is presented in concert version, then it should not offer a half—hearted gesture towards the theater. Indeed, the "partly staged " performances are even more unsatisfactory than the concert variety. The tenor is all excited, but you do not know why; the soprano is obviously dying, but she remains on her feet. Nor does the stationary chorus, its members turning the pages of their scores without looking at the person they sing about, contribute to the illusion.Different aesthetic laws of governance apply to concert music and theatrical music, for they are incongruous worlds calling for an entirely different sort of imagination from both performers and audience. Opera is theater, the most involved, elaborate, and exciting form of theater. The Italian term "opera " is far more inclusive than its English interpretation, for it embraces not only the musical score but the whole theater, "the work. "Without the stage, paucity of musical ideas immediately becomes evident, often painfully so. Take for instance Richard Strauss, some of whose late operas are being performed in concerts. Strauss was a composer who knew every facet of the lyric stage as few have known it, yet what can be quite pleasant on the stage, even if it is not particularly inventive, appears bare and contrived when removed from its natural habitat.Some may say that the end justifies the means. I can see merit in the concert performance of an opera which otherwise could not hope to be heard, or of one deficient in true theatrical qualities yet of genuine musical value. But neither Strauss, nor Bellini, nor Donizetti qualifies for such a role. Even if we forget the vital function of staging, it is practically impossible, for purely musical reasons, to present such a work on the concert platform. The large orchestra belongs in the pit; when placed on the stage, together with the singers, it makes their position almost untenable, even when led by an experienced opera conductor.Q. Bellini's works have historically been considered to possess both true theatrical quality and genuine musical value. What is the relevance of this information to the passage?a)It supports the author's claim that many great works have no hope of being heard.b)It supports the author's claim that Bellini does not meet his criteria for concert performance.c)It weakens the author's claim that Strauss and Bellini exhibit a paucity of musical ideas.d)It weakens the author's claim that presenting an opera in concert can tarnish its image.Correct answer is option 'B'. Can you explain this answer? tests, examples and also practice CAT tests.