Musical Masterpieces & Missteps

El fantasma de Elena’s musical score is interesting because often, there are no actual lyrics. The instruments and the sound of the music itself is used to create mystery and suspense throughout the telenovela, as well as highlight romantic scenes that take place between the two main characters: Elena and Eduardo.

Regarding the romantic relationship between Eduardo and Elena, it is interesting to note that many times, the telenovela’s romantic theme, which is played whenever Eduardo and Elena share a passionate kiss or other romantic scenes, is also played between scene transitions. Sometimes, it is used even if the scene prior to it had nothing to do with the two main characters. Subconsciously, this crossover between the main theme music and the romance scenes between the two main characters, keeps that romance at the main forefront of the show. Picking apart the music choice itself, Eduardo and Elena’s romantic theme music is very dramatic and intense. It has several parts during the chorus where it is ‘booming’, which adds to the passion displayed in the romance scenes especially. The booming sound of the background music dramatizes those scenes and makes them truly telenovela-esque.

Elena and Eduardo (Source: Diez Minutos)

Not only does the telenovela’s music add to the romance between Eduardo and Elena, but it also adds to the mystery and suspense surrounding the telenovela itself. Many family members in the show, like Eduardo’s half-brother Montecristo and Eduardo’s nephew Benjamin, have their own themes that drastically differ from Eduardo and Elena’s romantic theme. These characters are shrouded in darkness, as they are always shown wearing dark clothes and their facial expressions convey slyness and deception toward the people around them. Benjamin is very interesting to analyze, especially in the context of the music choices that play when he is on screen, because it highlights his character’s many layers. On the outside, he portrays himself as an angsty teenager – a “creator” – in his own words; however, it’s clear that the producers of the telenovela attempt to add a more sinister depth to him through their choice of music. While using a camera to watch Elena’s best friend, Laura, struggle to escape the Giron mansion’s inner walls, Benjamin sits there, unphased by Laura’s desperation. His demeanor is unchanging, as is the music, which is almost menacing. It creates anxiety in the viewer for what’s to come for Laura, but also what Benjamin might do to her if she is able to free herself, as the two already have a rocky relationship.

Benjamin (Source: Telenovelas Mania)

The relationship between the telenovela’s music and the character Montecristo, on the other hand, is very important, especially when he is interacting with Elena. In episode 25, there is a scene where Montecristo is expressing his feelings about how he feels about her and is explaining his emotions. What should likely have been a more upbeat and sweeter scene (though Elena is married to Montecristo’s half-brother), is made more sinister through the music choice. The music in the scene’s background is very suspenseful and juxtaposes Montecristo’s words to Elena with his true intentions, which she doesn’t truly understand. However, because of the musical choice, viewers can understand that what Montecristo is saying may have some truth, but, there is a more sinister intent behind his flattering words.

Montecristo (Source: Hulu)

Due to the dramatic and suspenseful nature of the telenovela, there are not many comedic scenes. However, in episode 20, there is scene, which depicts one of the maids, Milady, serving a meal to Corina (Elena’s sister-in-law) and her psychic Nena. The dialogue in this scene is very curious, as Milady doesn’t understand why the psychic’s aid, Said, is sitting in the ground. After learning he is a “Hindu prince”, Milady begins asking him very stereotypical questions about his culture, which is when the music begins. The music playing in the scene’s background also doesn’t have any lyrics, but it displays playfulness through the beats and is almost childlike. In this instance, the music creates a childish energy around Milady, further highlighting her own child-like innocence and fascination. It almost makes her appear dumb, as her ignorance of cultures besides her own becomes extremely evident, and the music choice further exacerbates this characteristic.

Something that I don’t like about my telenovela’s musical score is the way it transitions between some of the scenes. Music is used in the transitional clips between scenes where it often overlaps with an action shot. However, sometimes, the music doesn’t match the feeling of the scene that occurred before it, and these transitions inhibit the flow of the suspenseful scenes. When the telenovela cuts right after a long sequence of suspense, having a transition with upbeat music overlaying a transitional clip is jarring to the viewer. It doesn’t give them time to fully process what happened in the previous scene, and it can influence their perception of the scene that follows the transition. I think the telenovela’s producers should have taken more time to understand how viewers might perceive these drastic musical shifts and how they might affect the understanding of the scenes before and after the transitions.

Overall, music plays a large part in adding to the mystery and romance of my telenovela’s storyline. Even though sometimes music choice falls short and diminishes the value of the suspense or romance, often, it adds an eerie mood to the suspenseful scenes and passion to romantic scenes. In a telenovela like El fantasma de Elena, it is important to ensure there is balance between the music and the scenes being shown to viewers. Without music, it can be difficult for viewers to create that connection to romantic or mysterious scenes. However, with too much music, the scene is overshadowed, and viewers may miss key details or have their sense overwhelmed.