Opera can bridge the space between music and literature. Goethe, in his many pages, creates a mischievous Mephisto. But with Boito's Mefistofele, instantly we are aware of the nature of Mephisto, his playful and ominous theme, combined with his shape-shifting form, is a window into his character that music or literature alone fails to fully develop. The combination provides an immediate characterization. Hearing Mephisto bandy words with the besieged Faust, all the while supported by his devilish theme and absurd whistling, Mephisto is given a vibrant characterization, both a concrete form and a musical identity.
Opera tells the story on two different levels, or tells two different stories simultaneously.
What is sung can be in agreement with the music, or it can be placed in a contrary position to create irony, or tension, or what have you. This added dimension of music and words in counterpoint to each other explores realms of the story that would be missed by one art form alone. With staging, a mixed benefit at times, Opera has a third element that neither pure 111 usic nor literature contains. Where this element of staging can aid in the telling of the story, it can also work against the composer's original ideas. A poor staging or undeveloped actjng skills on the part of the players can detract from the work and render its deeper forces impotent.