The final blog entry of the semester...it's been quite a journey. There have been a lot of wonderful discussions, and many great laughs, during our travels from Candide to Repo! The Genetic Opera.
We started our final week of discussion classes looking at Rosencrantz and Guildenstern Are Dead, an opera based upon the Tom Stoppard play. This brought up a lot of fun memories for me, as the clip we had on YouTube was of the "Questions" scene from the opera. The corresponding scene from the play was something I had competed with during high school acting competitions. My acting partner and I won a regional competition with "Questions" and had a fantastic time doing it.
We also discussed "The Wrath of Kahn: The Opera", a 2 minute Italian opera based upon the second cinematic installment of Star Trek. This lead to a discussion about parodies, and one thing I remembered was a presentation of Star Wars using the melodies of Gilbert and Sullivan songs from H.M.S. Pinafore and Pirates of Penzance and lyrics modified to fit the Star Wars story. The lyrics to many of the songs can be found at the following link:
http://math.boisestate.edu/gas/newsletters/precious_nonsense/star_wars.txt
One of my favorite songs are "When I was a lad", using the tune from Pinafore by the same name. However, in this version you have Darth Vader telling the story of how he became the right-hand man to Darth Sidious, instead of Sir Joseph Port, K.C.B., telling how he rose from a desk clerk to commander of the Royal Navy. The other song I took a particular liking to is "I am the very model of a modern diplomatic droid", sung by C-3PO to the tune of the well-known "I am the very model of a modern major general" from Pirates. Though that is probably the most-parodied Gilbert and Sullivan song, it never ceases to amaze me when patter songs, with their necessity for high syllable counts delivered at a rapid pace, are re-worded in parodies.
It has been an interesting semester, one in which I learned a lot about the direction opera seems to be taking in America. It has also been one of the most enjoyable and informative courses I have ever taken.
Monday, April 19, 2010
Repo! Reflection
This past week, the American Opera Since 1950 class was introduced to Repo! The Genetic Opera. It was quite an interesting experience, and it lead to a lot of discussion. The basic premise seems to be something not too removed from The Rocky Horror Picture Show, and seems to have cultivated a similar following. The music I find similarly addictive to that of Rocky Horror.
Repo! was, luckily, readily accessible on YouTube. Although the entire opera was not on there (and I am still eager to see the entire thing) there were MANY clips to watch. One particularly addictive clip, for me, was "Zydrate Anatomy". The song features The Graverobber, a sort of narrator character who looks very much like the traditional image of Riff-Raff in Rocky Horror. Another connection between those two characters is that in both Rocky Horror and Repo!, a key creator of the show played the character. "Zydrate Anatomy" gives a glimpse into the underworld of this near-future society, where plastic surgery and artificial organs are a standard part of life. Instead of cocaine or heroine or any other of the drugs that are so prominent in our society today, the drug that everyone is addicted to is something called Zydrate, which is apparently drawn from dead bodies. Thus, The Graverobber.
The music is very catchy, with a combination of slow rock singing and a more spoken sprechstimme style of delivery. The lyrics tell the story and keep the listener / audience engaged. I found it very effective, as I did all the clips I could find of this opera on YouTube.
Repo! was not universally enjoyed by the class. There are certainly elements that are shocking and vulgar, bloody and violent. And of course there was the questionable choice of casting, most controversial for a musical / opera being Paris Hilton and Sarah Brightman. However, I personally felt that the presentation is effective and enticing. While I certainly don't consider it a grand masterpiece, I certainly find it entertaining. After all, not every work needs to be La Traviata to have merit.
Repo! was, luckily, readily accessible on YouTube. Although the entire opera was not on there (and I am still eager to see the entire thing) there were MANY clips to watch. One particularly addictive clip, for me, was "Zydrate Anatomy". The song features The Graverobber, a sort of narrator character who looks very much like the traditional image of Riff-Raff in Rocky Horror. Another connection between those two characters is that in both Rocky Horror and Repo!, a key creator of the show played the character. "Zydrate Anatomy" gives a glimpse into the underworld of this near-future society, where plastic surgery and artificial organs are a standard part of life. Instead of cocaine or heroine or any other of the drugs that are so prominent in our society today, the drug that everyone is addicted to is something called Zydrate, which is apparently drawn from dead bodies. Thus, The Graverobber.
The music is very catchy, with a combination of slow rock singing and a more spoken sprechstimme style of delivery. The lyrics tell the story and keep the listener / audience engaged. I found it very effective, as I did all the clips I could find of this opera on YouTube.
Repo! was not universally enjoyed by the class. There are certainly elements that are shocking and vulgar, bloody and violent. And of course there was the questionable choice of casting, most controversial for a musical / opera being Paris Hilton and Sarah Brightman. However, I personally felt that the presentation is effective and enticing. While I certainly don't consider it a grand masterpiece, I certainly find it entertaining. After all, not every work needs to be La Traviata to have merit.
Monday, April 12, 2010
Reflection Upon American Idiot
The rest of the week was spent focusing on Green Day's American Idiot: The Musical. This has been one of the best conversation pieces of the semester. I found myself very much drawn to the idea of the work, and have enjoyed the discussions the class have conducted.
One point that came up yet again, as it has many times this semester, was the question of what actually qualifies today as 'opera'. I remain convinced that opera is best described as a dramatic work in which the drama is primarily driven by the music. To this extent, American Idiot qualifies, as it is nearly entirely through-composed. Also, the fact that it existed first as an album which was expanded into a dramatic work helps with this argument. The musical numbers of the album were the central focus of the development of this show, and thus of course drive the drama of that very show.
Another interesting point brought up in the consideration of labeling American Idiot was the importance of clarification between ROCK OPERA and OPERA. It was basically agreed that as a rock opera, there is an easy connection between American Idiot and the earliest works such as Tommy and Jesus Christ Superstar. The same consensus was not reached about it's qualification as an opera.
The most interesting and unique discussion came up when we were asked about whether a role in a show such as American Idiot should go onto our professional resumes. The general consensus was that it was safe to have it on the general resume if a career is already established, but for young singers such as us, it may be dangerous to audition at traditional big opera houses with such a show on the resume. My personal hope is that it will not be too long before such questions are not as worrisome; that the casting powers in the general realm of opera will begin to recognize the common situations of cross-over required by today's singer. While I know I cannot necessarily sing rock such as that found in American Idiot, I have been hired over the past few years doing more traditional musical theater works that still fall outside the realm of opera. I hope that one day, the full array of a singer's experience can be brought to the table no matter where or for what they are auditioning.
One point that came up yet again, as it has many times this semester, was the question of what actually qualifies today as 'opera'. I remain convinced that opera is best described as a dramatic work in which the drama is primarily driven by the music. To this extent, American Idiot qualifies, as it is nearly entirely through-composed. Also, the fact that it existed first as an album which was expanded into a dramatic work helps with this argument. The musical numbers of the album were the central focus of the development of this show, and thus of course drive the drama of that very show.
Another interesting point brought up in the consideration of labeling American Idiot was the importance of clarification between ROCK OPERA and OPERA. It was basically agreed that as a rock opera, there is an easy connection between American Idiot and the earliest works such as Tommy and Jesus Christ Superstar. The same consensus was not reached about it's qualification as an opera.
The most interesting and unique discussion came up when we were asked about whether a role in a show such as American Idiot should go onto our professional resumes. The general consensus was that it was safe to have it on the general resume if a career is already established, but for young singers such as us, it may be dangerous to audition at traditional big opera houses with such a show on the resume. My personal hope is that it will not be too long before such questions are not as worrisome; that the casting powers in the general realm of opera will begin to recognize the common situations of cross-over required by today's singer. While I know I cannot necessarily sing rock such as that found in American Idiot, I have been hired over the past few years doing more traditional musical theater works that still fall outside the realm of opera. I hope that one day, the full array of a singer's experience can be brought to the table no matter where or for what they are auditioning.
Reflection on discussion with Kiya
This week's classes have been filled with wonderful discussion. It all started with the visit from Kiya to discuss her opera Lying to the Sea Gypsy. A wonderful children's opera, it made me think about works that are suitable as workshop pieces with children. I realized that, in the operatic realm, I couldn't think of anything.
This made me consider Missoula Children's Theater, a touring company based out of Missoula, Montana, that a good friend of mine works for. For the past year, she has been touring from town to town, first in the Texas area and then out on the west coast. The company spends about a week in any given location, where they work with a youth cast and coach them in a production of a certain show. I believe that for the entire year she has been workshoping a version of Jack and the Beanstalk. It seems like such a great way to get young students involved in theatrical productions with a professional cast, and it also works well as a venue for young musical theater performers to begin to get some experience.
What about a similar organization for opera? If we could get composers such as Kiya to write more works like Lying to the Sea Gypsy, it would be a great way to get middle school and high school students involved in opera in a supervised, safe way. I believe it would be much more effective than watching high school sopranos sing "Caro nome" or tenors attempt to survive "Il mio tesoro." It seems to me that this is an instance where the merging styles of musical theater and opera can benefit from looking at things other than the musical aspects. Opera can benefit from adopting a similar format of performing and outreach, I believe, to this musical theater tradition. Composers that understand the need of young singers, like Kiya, are essential to this idea, and it's very exciting to see her work and to imagine what may be in the future.
This made me consider Missoula Children's Theater, a touring company based out of Missoula, Montana, that a good friend of mine works for. For the past year, she has been touring from town to town, first in the Texas area and then out on the west coast. The company spends about a week in any given location, where they work with a youth cast and coach them in a production of a certain show. I believe that for the entire year she has been workshoping a version of Jack and the Beanstalk. It seems like such a great way to get young students involved in theatrical productions with a professional cast, and it also works well as a venue for young musical theater performers to begin to get some experience.
What about a similar organization for opera? If we could get composers such as Kiya to write more works like Lying to the Sea Gypsy, it would be a great way to get middle school and high school students involved in opera in a supervised, safe way. I believe it would be much more effective than watching high school sopranos sing "Caro nome" or tenors attempt to survive "Il mio tesoro." It seems to me that this is an instance where the merging styles of musical theater and opera can benefit from looking at things other than the musical aspects. Opera can benefit from adopting a similar format of performing and outreach, I believe, to this musical theater tradition. Composers that understand the need of young singers, like Kiya, are essential to this idea, and it's very exciting to see her work and to imagine what may be in the future.
Monday, April 5, 2010
Research paper on REGINA by Blitzstein
In the process of writing my paper about Marc Blitzstein's Regina, I have found the focus of my work shift dramatically based upon available material about this rarely performed work.
The initial idea driving my paper was that I would be evaluating performance aspects of the show, both from the perspective of the performers and from the perspective of an audience member. However, there is so little material available pertaining to actual performances of the work, and not much of a variety of recorded materials, that this became very difficult to develop. However, the paper has taken an interesting turn of focus that I believe is much more accessible with the sources I have been able to identify.
The new focus of my paper is the derivation of the story from play to opera. The fact that the playwright herself was involved in the adaptation makes this particularly interesting. By looking at sources related to the play itself, I have established a basis of what the initial intent was at how the characters and story were to be presented. From there, the score was consulted to see what has been retained and what has been altered as the story was adapted to the operatic stage. From this, I am working out conclusions as to how effective the adaptation has been, and can assess what might be altered to overcome any shortcomings identified.
This change in focus has allowed more sources to be identified, since sources about the play itself are far more pertinent in discussing the derivation of the show from play to opera than in discussing performance practices of the opera itself. I also believe that this is a more concrete course of thought that allows for real conclusions to be reached, which I was having a very difficult time doing with my initial idea.
The initial idea driving my paper was that I would be evaluating performance aspects of the show, both from the perspective of the performers and from the perspective of an audience member. However, there is so little material available pertaining to actual performances of the work, and not much of a variety of recorded materials, that this became very difficult to develop. However, the paper has taken an interesting turn of focus that I believe is much more accessible with the sources I have been able to identify.
The new focus of my paper is the derivation of the story from play to opera. The fact that the playwright herself was involved in the adaptation makes this particularly interesting. By looking at sources related to the play itself, I have established a basis of what the initial intent was at how the characters and story were to be presented. From there, the score was consulted to see what has been retained and what has been altered as the story was adapted to the operatic stage. From this, I am working out conclusions as to how effective the adaptation has been, and can assess what might be altered to overcome any shortcomings identified.
This change in focus has allowed more sources to be identified, since sources about the play itself are far more pertinent in discussing the derivation of the show from play to opera than in discussing performance practices of the opera itself. I also believe that this is a more concrete course of thought that allows for real conclusions to be reached, which I was having a very difficult time doing with my initial idea.
Creative Presentation on Blitzstein's REGINA
As we prepare for the final weeks of the semester, we are winding up to the creative presentations each student is working on related to our opera(s) researched independently. The creative aspect of my project is revolving around a set design for the opera Regina by mid-century composer Marc Blitzstein.
The primary set design revolves around a Reconstruction-era southern homestead, roughly turn of the century. A key aspect that is capturing my interest in the interpretation is the furniture within. The script to the play upon which Regina is based, Lillian Hellman's The Little Foxes, takes care to describe the furniture of the upscale residence as showing wealth, but nothing of actual meaning or sentimental value. Basically, my interpretation is that the furniture should create an air almost of a Victorian showroom, instead of a home. It merely shows off the monetary success of its occupants, while at the same time revealing the cold-hearted qualities of the three siblings that lead to that success. It allows for the wealthy characters who actually have compassion, namely Horace and Alexandra Giddens and Birdie Hubbard, to seem a bit alien around the set.
Several scenes of the opera occur on the terrace outside the house. If I were designing the set for the theatrical stage, I would prefer to create this as a side set extension on a traditional proscenium stage. However, for opera, most houses are designed acoustically for the singers to be placed upon the stage proper, my design incorporates a revolving set, similar to what you might see on a production of Les Miserables. This set allows the scenes to flow seamlessly from the room to the terrace, as the door to the terrace is found at the upstage portion of the room that is the primary set.
The primary set design revolves around a Reconstruction-era southern homestead, roughly turn of the century. A key aspect that is capturing my interest in the interpretation is the furniture within. The script to the play upon which Regina is based, Lillian Hellman's The Little Foxes, takes care to describe the furniture of the upscale residence as showing wealth, but nothing of actual meaning or sentimental value. Basically, my interpretation is that the furniture should create an air almost of a Victorian showroom, instead of a home. It merely shows off the monetary success of its occupants, while at the same time revealing the cold-hearted qualities of the three siblings that lead to that success. It allows for the wealthy characters who actually have compassion, namely Horace and Alexandra Giddens and Birdie Hubbard, to seem a bit alien around the set.
Several scenes of the opera occur on the terrace outside the house. If I were designing the set for the theatrical stage, I would prefer to create this as a side set extension on a traditional proscenium stage. However, for opera, most houses are designed acoustically for the singers to be placed upon the stage proper, my design incorporates a revolving set, similar to what you might see on a production of Les Miserables. This set allows the scenes to flow seamlessly from the room to the terrace, as the door to the terrace is found at the upstage portion of the room that is the primary set.
Monday, March 29, 2010
Men and Mad Scenes (plus a FUN VIDEO)
I found the discussion in class last week about the portrayal of men and women in highly emotional states very interesting. As one of the few men in the class, I wanted to continue that discussion from a male perspective.
The discussion really revolved around women being portrayed as irrational beings when overcome with strong emotion, leading to the famous 'mad scenes' that are found throughout the operatic literature. It was the question of why men are not really shown to have the same kind of elaborate mad scenes that really captured my interest. Yes, we see men in opera, and other dramatic arts, succumb to strong emotions and act irrationally. However, the most common culprit behind such acts is an unbridled rage that causes a violent retaliation for some perceived wrong. Examples of this can be found in many operas, including Rigoletto arranging for the Duke's murder after the nobleman dishonored Gilda, or for Don Jose's murderous rage at the end of Carmen. However, this is not the same as the traditional woman's 'mad scene.' Those scenes tend to be brought upon by a crushing loss or sadness, and the reaction is a prolonged, tragic loss of reason. I believe a key reason that we do not find the same occurrence in male roles is the fact that sadness is usually a key contributor. Throughout history, it has been considered by society at large un-manly to be overly demonstrative of emotions such as sorrow. Men are supposed to "toughen up" and keep it pent up inside when facing the rest of the world. Thus, showing a complete melt-down as a result of such emotion is not a "manly" reaction to events. I believe this is a primary factor in why we do not see traditional 'mad scenes' given to the male characters. Perhaps as society moves towards an ever-increasing idea of equality among the genders, this may eventually change; however, I do not expect to see a masculine equivalent of the Ophelia mad scene in Hamlet for some time yet.
Now, for something completely different:
While passing time on Hulu the other day, I watched a recent episode of The Simpsons entitled "Stealing First Base". At approximately 10 mins. 30 secs. into the episode, Homer takes Bart to the movies to watch Itchy and Scratchy in 3D in order to forget a fiasco with a girl. (For those of you, if any, who do not know, Itchy and Scratcy is a very violent show that the Simpsons watch with a mouse that kills a cat in every imaginable, grotesque way). However, in this particular example, there is a parody of Koyannisquatsi with: "Koyannis-Scratchy: Death out of Balance". The episode can be found a the following link: http://www.hulu.com/watch/133207/the-simpsons-stealing-first-base#s-p1-so-i0. Again, it begins just after 10'30" into the episode. It's actually a very clever parody! (WARNING: INTENSE CARTOON VIOLENCE / GORE)
The discussion really revolved around women being portrayed as irrational beings when overcome with strong emotion, leading to the famous 'mad scenes' that are found throughout the operatic literature. It was the question of why men are not really shown to have the same kind of elaborate mad scenes that really captured my interest. Yes, we see men in opera, and other dramatic arts, succumb to strong emotions and act irrationally. However, the most common culprit behind such acts is an unbridled rage that causes a violent retaliation for some perceived wrong. Examples of this can be found in many operas, including Rigoletto arranging for the Duke's murder after the nobleman dishonored Gilda, or for Don Jose's murderous rage at the end of Carmen. However, this is not the same as the traditional woman's 'mad scene.' Those scenes tend to be brought upon by a crushing loss or sadness, and the reaction is a prolonged, tragic loss of reason. I believe a key reason that we do not find the same occurrence in male roles is the fact that sadness is usually a key contributor. Throughout history, it has been considered by society at large un-manly to be overly demonstrative of emotions such as sorrow. Men are supposed to "toughen up" and keep it pent up inside when facing the rest of the world. Thus, showing a complete melt-down as a result of such emotion is not a "manly" reaction to events. I believe this is a primary factor in why we do not see traditional 'mad scenes' given to the male characters. Perhaps as society moves towards an ever-increasing idea of equality among the genders, this may eventually change; however, I do not expect to see a masculine equivalent of the Ophelia mad scene in Hamlet for some time yet.
Now, for something completely different:
While passing time on Hulu the other day, I watched a recent episode of The Simpsons entitled "Stealing First Base". At approximately 10 mins. 30 secs. into the episode, Homer takes Bart to the movies to watch Itchy and Scratchy in 3D in order to forget a fiasco with a girl. (For those of you, if any, who do not know, Itchy and Scratcy is a very violent show that the Simpsons watch with a mouse that kills a cat in every imaginable, grotesque way). However, in this particular example, there is a parody of Koyannisquatsi with: "Koyannis-Scratchy: Death out of Balance". The episode can be found a the following link: http://www.hulu.com/watch/133207/the-simpsons-stealing-first-base#s-p1-so-i0. Again, it begins just after 10'30" into the episode. It's actually a very clever parody! (WARNING: INTENSE CARTOON VIOLENCE / GORE)
Response to "Film + Opera = Happiness"
I too have realized that film has had a surprising degree of importance to both my own views of the operas which we have discussed this semester, as well as the discussion of these operas in class. This semester has really provided me with the two ends of the realm of opera history, with this course providing the most recent additions to the subject. In contrast, Opera Literature 1 has started at the earliest operas (arguably 1597, 1600, or 1607 depending on your view of which show is the first opera) and worked up until just prior to Mozart at this point. One thing that Professor Cusack has made clear is that she is not a particular fan of operas actually made as movies (as opposed to simply recording a stage production). Given the repertoire we have seen, I would be lead to agree that earlier opera, in particular, should be observed as a stage production. If that happens to be recorded, that is alright; the production aesthetics remain the same.
However, I cannot find the same convictions when I look at the operas which we have discussed in this class this semester. Many of the operas, I feel, would make wonderful movies. Take A View from the Bridge: I believe it has the essential elements to be very popular in today's cinematic realm. One point that Jen made really stands out to me. She wrote, "Although the subject matter is controversial, there is something extremely charming in the way the music was composed and the text was set." I would argue that the controversial nature of the subject material, if anything, makes it even MORE appropriate to today's cinema. Look at movies like The Hurt Locker and Stop Loss. The material presented in these movies, about the war on terror, can be considered very controversial. However, both are very successful films. I believe this edginess of content that we have found in many of the operas composed in the United States since 1950 makes them ideal material for movies.
However, I cannot find the same convictions when I look at the operas which we have discussed in this class this semester. Many of the operas, I feel, would make wonderful movies. Take A View from the Bridge: I believe it has the essential elements to be very popular in today's cinematic realm. One point that Jen made really stands out to me. She wrote, "Although the subject matter is controversial, there is something extremely charming in the way the music was composed and the text was set." I would argue that the controversial nature of the subject material, if anything, makes it even MORE appropriate to today's cinema. Look at movies like The Hurt Locker and Stop Loss. The material presented in these movies, about the war on terror, can be considered very controversial. However, both are very successful films. I believe this edginess of content that we have found in many of the operas composed in the United States since 1950 makes them ideal material for movies.
Wednesday, March 17, 2010
Appearance-blind Casting
A topic we discussed during Friday's class really got me thinking. I am a fan of the Kenneth Branagh film adaptations of Shakespearean plays, and I think that they are a wonderful example of how appearance-blind casting can work where it is appropriate. I will use a couple examples to illustrate the idea.
In Branagh's 1993 version of Much Ado About Nothing, we have Don Pedro played by Denzel Washington. I believe he gives a very good performance, capturing the elegance of the character yet not allowing himself to be too elevated over the men with whom he is serving. This allows for the commraderie between Don Pedro and his soldiers, despite him having a higher station in life. You then have his bastard brother, Don John, played by Keanu Reeves. If one were to attempt an entirely realistic depiction of this family, Reeves would be, as the Reduced Shakespeare Company would say, "Racially challenged" to play the brother of Denzel Washington. However, it works just fine in this movie. I personally believe Don John, a self-proclaimed "Man of few words", is a good choice if you're going to have Keanu Reeves doing Shakespeare: the fewer, the better.
Yet Branagh's adaptation of Othello in 1995 makes no attempt to cast other than in a traditional vein, with Lawrence Fishburne playing the Moor of Venice. This is of course a key element to the story, and thus I do not believe it would be considered by many to be a racist choice to only cast a man of color as Othello.
I believe that both of these ideas have their place in the consideration of casting a show such as The Death of Klinghoffer. It is up to the director to decide if he wants to cast appearance-blind so as to capture the grander humanity that Adams intended to depict, or if he wants to be very specific about each character's appearance becasue they are portraying real people. Either approach is valid, I believe. However, I do believe it would be beneficial to make your decision known at the time of auditions, so that people are clear about what is being sought in a given production of the work.
In Branagh's 1993 version of Much Ado About Nothing, we have Don Pedro played by Denzel Washington. I believe he gives a very good performance, capturing the elegance of the character yet not allowing himself to be too elevated over the men with whom he is serving. This allows for the commraderie between Don Pedro and his soldiers, despite him having a higher station in life. You then have his bastard brother, Don John, played by Keanu Reeves. If one were to attempt an entirely realistic depiction of this family, Reeves would be, as the Reduced Shakespeare Company would say, "Racially challenged" to play the brother of Denzel Washington. However, it works just fine in this movie. I personally believe Don John, a self-proclaimed "Man of few words", is a good choice if you're going to have Keanu Reeves doing Shakespeare: the fewer, the better.
Yet Branagh's adaptation of Othello in 1995 makes no attempt to cast other than in a traditional vein, with Lawrence Fishburne playing the Moor of Venice. This is of course a key element to the story, and thus I do not believe it would be considered by many to be a racist choice to only cast a man of color as Othello.
I believe that both of these ideas have their place in the consideration of casting a show such as The Death of Klinghoffer. It is up to the director to decide if he wants to cast appearance-blind so as to capture the grander humanity that Adams intended to depict, or if he wants to be very specific about each character's appearance becasue they are portraying real people. Either approach is valid, I believe. However, I do believe it would be beneficial to make your decision known at the time of auditions, so that people are clear about what is being sought in a given production of the work.
The Achille Lauro Hijacking: Today
Our discussion all last week about The Death of Klinghoffer lead me, like many in the class, to research the actual events of 1985. In my research, I found several articles about the fate of the terrorists. The one that most caught my attention was from April 30 of last year. It was announcing the release of Youssef Megied al-Molqui, the man actually charged with shooting Leon Klinghoffer and ordering him and his wheelchair thrown overboard. You can read about the family's reaction to his release in a brief online article, found here:
http://www.cleveland.com/world/index.ssf/2009/04/achille_lauro_hijacker_release.html
Personally, I am stunned that a man could get out so early just for 'model behavior' when he's a convicted murderer and hijacker. This is the actual trigger man; he took the life of an innocent American, yet he gets out for 'model behavior' in a little over 23 years. I also want to know how he can have exhibited this 'model behavior' when the article says that he went on the run in 1996 during a furlough and eluded capture for 3 weeks. How is breaking away from your imprisonment 'model behavior'? In the novel Les Miserables, Jean Valjean has five years added to his sentence every time he tries to escape from prison. And that was just for stealing a loaf of bread.
Another piece of information today that links to the hijacking of the Achille Lauro is the apparent significance of one of the men whose release was demanded by the four hijackers. Samir Kantar was one of the men who was to be released if the hijackers had gotten their wish. He was imprisoned as a killer of a father and his four-year-old daughter, as well as a police officer. However, more than 20 years after the Achille Lauro hijacking (in 2008), the group Hezbollah also demanded the release of this man. They used captured Israeli soldiers to guarantee his release. I find it bad enough that the murderer of Leon Klinghoffer is released early. Yet, here we have not only a man who murdered 3 people, including a young girl, but who seems to be far more important in the terrorist realm than just a soldier, for his release to be sought for so long by such extreme measures.
http://www.cleveland.com/world/index.ssf/2009/04/achille_lauro_hijacker_release.html
Personally, I am stunned that a man could get out so early just for 'model behavior' when he's a convicted murderer and hijacker. This is the actual trigger man; he took the life of an innocent American, yet he gets out for 'model behavior' in a little over 23 years. I also want to know how he can have exhibited this 'model behavior' when the article says that he went on the run in 1996 during a furlough and eluded capture for 3 weeks. How is breaking away from your imprisonment 'model behavior'? In the novel Les Miserables, Jean Valjean has five years added to his sentence every time he tries to escape from prison. And that was just for stealing a loaf of bread.
Another piece of information today that links to the hijacking of the Achille Lauro is the apparent significance of one of the men whose release was demanded by the four hijackers. Samir Kantar was one of the men who was to be released if the hijackers had gotten their wish. He was imprisoned as a killer of a father and his four-year-old daughter, as well as a police officer. However, more than 20 years after the Achille Lauro hijacking (in 2008), the group Hezbollah also demanded the release of this man. They used captured Israeli soldiers to guarantee his release. I find it bad enough that the murderer of Leon Klinghoffer is released early. Yet, here we have not only a man who murdered 3 people, including a young girl, but who seems to be far more important in the terrorist realm than just a soldier, for his release to be sought for so long by such extreme measures.
Sunday, March 7, 2010
Willie Stark: Harder than Rigoletto
I have had a bit further discussion with Dennis Jesse, the LSU voice professor who sang the title role in that school's production of Willie Stark. He shed some interesting light on the show from the perspective of the man actually performing the role.
The first thing to consider is the acting of the show. A general consensus in our discussion was that the show is a heavy acting demand for any cast endeavoring to put it on. According to Dennis, the most challenging aspect of acting the part of Willie Stark "was to be charming even while you were manipulating the crap out of others." He goes on to describe how during the development of the character, Stark began to become outrightly mean until Carlisle Floyd himself began coming to rehearsals and pointed out that politicians can NEVER be mean; although manipulative, they always have to be charming. I never thought of the role in quite that way, and it makes a lot of sense. This duality of charming / manipulative goes hand in hand with the duality we discussed in class about his moments of sincerity and then utter falseness.
The next aspect to consider is the role from a vocal perspective. The class seems pretty well in agreement that the show is not the most tuneful opera to sing. However, the vocal demands on the singer are still tremendous. Dennis says that he "would honestly say that this role was harder than Rigoletto and the most challenging vocal role [he has] ever sung." In particular, the revival scene was singled out as the most demanding scene to perform (certainly in part because of the A it requires from Stark).
*On a completely un-related note, I find it interesting that no one discussed what Willie Stark might have meant to LSU as a school. It wasn't until after our last class discussion that I learned that Robert Penn Warren, the author of All the King's Men, was an LSU professor. It must have been an event of particular institutional pride to stage the opera based upon that famous work of a professor emeritus.
The first thing to consider is the acting of the show. A general consensus in our discussion was that the show is a heavy acting demand for any cast endeavoring to put it on. According to Dennis, the most challenging aspect of acting the part of Willie Stark "was to be charming even while you were manipulating the crap out of others." He goes on to describe how during the development of the character, Stark began to become outrightly mean until Carlisle Floyd himself began coming to rehearsals and pointed out that politicians can NEVER be mean; although manipulative, they always have to be charming. I never thought of the role in quite that way, and it makes a lot of sense. This duality of charming / manipulative goes hand in hand with the duality we discussed in class about his moments of sincerity and then utter falseness.
The next aspect to consider is the role from a vocal perspective. The class seems pretty well in agreement that the show is not the most tuneful opera to sing. However, the vocal demands on the singer are still tremendous. Dennis says that he "would honestly say that this role was harder than Rigoletto and the most challenging vocal role [he has] ever sung." In particular, the revival scene was singled out as the most demanding scene to perform (certainly in part because of the A it requires from Stark).
*On a completely un-related note, I find it interesting that no one discussed what Willie Stark might have meant to LSU as a school. It wasn't until after our last class discussion that I learned that Robert Penn Warren, the author of All the King's Men, was an LSU professor. It must have been an event of particular institutional pride to stage the opera based upon that famous work of a professor emeritus.
The Aspern Papers vs...Greek / Roman Mythology?
During our discussion of The Aspern Papers, I made a comparison between the story and classic Greek / Roman mythology. The idea kind of came to me out of nowhere in class, and now that I have taken some time to really consider it, I find that I still believe in the similarities. I would like to explore the idea a bit further.
In classic Greco-Roman mythology, you have various tiers of deities. The Gods, lead by Zeus, are off-spring at first of the Titans, whose shadow they emerged from to create their own place in the world. Similarly, you have the demi-gods, like Heracles (Hercules), who have both mortal and human parts. It is with these demi-gods that I find the greatest similarity to the story of The Aspern Papers. In particular, I see the character of Tina as the demi-god analog in the story. Her aunt is this larger-than-life Diva, very much like one of the Gods of the Pantheon. Tina finds herself a humble woman without the greatness of her aunt, at least in the sense of classical greatness. However, by the end of the story, she makes one of the most heroic stances of the story. The preservation of the privacy desired by the man Aspern is the final accomplishment of Tina in the story. She burns the papers (in the opera, right before the audience's eyes) to prevent that wanted privacy from being betrayed. Even the author of the Wikipedia synopsis of the novella calls Tina the heroine of the story. I myself see her action in the final moments of this story as the start to another. Tina has finally found a voice, found inner strength. This story seems but the first step on her journey to self-discovery. I find myself wondering, what comes next for her?
In classic Greco-Roman mythology, you have various tiers of deities. The Gods, lead by Zeus, are off-spring at first of the Titans, whose shadow they emerged from to create their own place in the world. Similarly, you have the demi-gods, like Heracles (Hercules), who have both mortal and human parts. It is with these demi-gods that I find the greatest similarity to the story of The Aspern Papers. In particular, I see the character of Tina as the demi-god analog in the story. Her aunt is this larger-than-life Diva, very much like one of the Gods of the Pantheon. Tina finds herself a humble woman without the greatness of her aunt, at least in the sense of classical greatness. However, by the end of the story, she makes one of the most heroic stances of the story. The preservation of the privacy desired by the man Aspern is the final accomplishment of Tina in the story. She burns the papers (in the opera, right before the audience's eyes) to prevent that wanted privacy from being betrayed. Even the author of the Wikipedia synopsis of the novella calls Tina the heroine of the story. I myself see her action in the final moments of this story as the start to another. Tina has finally found a voice, found inner strength. This story seems but the first step on her journey to self-discovery. I find myself wondering, what comes next for her?
Sunday, February 28, 2010
Another Discussion on TV / Stage in Today's Opera
One thing I have noticed coming up in this class a lot so far is the discussion about how effective operas we have studied are as televised / movie productions. Willie Stark has proven to be yet another candidate for this debate. If the reviews we read are any indication, it appears that Willie Stark has become one of the most successful candidates for television or the movie theater.
Two reviews were presented to the class, one a review of the stage production at Houston Grand Opera while the other was a review of the televised PBS special. Reading these two reviews is like night and day in the way the critic receives the production. Henahan's April 27, 1981 review of the stage production takes searing shots at Floyd's score, one of the most telling being "Fortunately, Mr. Floyd's music did not often demand a place in the foreground." This sentiment actually falls in line with an opinion that seems fairly widely held among our class: the music itself is not as stirring or memorable as other operas. Many students have said something along the lines of 'I would not go out and a buy the CD.'
I myself agree with Shelley's assertion that the music is just one integrated part of this work. With all the parts presented together, Willie Stark is a compelling and effective production. I believe that the second review, that by John J. O'Connor, reflects this idea. He discusses the Prince staging, the dramatic aspects of the performers, and comes to the conclusion that the show was truly enjoyable and poignant. And it seems that the show found it's balance in this made-for-tv version, as it underwent editing that resulted in nearly 50 minutes of the stage version being cut. Whatever reasons caused the cuts to be made for a TV production, they apparently enhanced the show immeasurably from the perspective of the critics. This would suggest that the show actually works best as a televised production.
This semester, I had an interesting balance of old and new opera by having this course, where we look at some of the latest in opera, as well as Opera Literature 1, which looks at the very start of opera. I have found that videos of the older operas, while entertaining, almost always feel like they are missing something. In contrast, I have found that the more recent operas seem to work much better on film. While I of course prefer live opera, it seems that operas created in our television- / movie-driven society stand up to being presented in this medium more effectively than their predecessors.
Two reviews were presented to the class, one a review of the stage production at Houston Grand Opera while the other was a review of the televised PBS special. Reading these two reviews is like night and day in the way the critic receives the production. Henahan's April 27, 1981 review of the stage production takes searing shots at Floyd's score, one of the most telling being "Fortunately, Mr. Floyd's music did not often demand a place in the foreground." This sentiment actually falls in line with an opinion that seems fairly widely held among our class: the music itself is not as stirring or memorable as other operas. Many students have said something along the lines of 'I would not go out and a buy the CD.'
I myself agree with Shelley's assertion that the music is just one integrated part of this work. With all the parts presented together, Willie Stark is a compelling and effective production. I believe that the second review, that by John J. O'Connor, reflects this idea. He discusses the Prince staging, the dramatic aspects of the performers, and comes to the conclusion that the show was truly enjoyable and poignant. And it seems that the show found it's balance in this made-for-tv version, as it underwent editing that resulted in nearly 50 minutes of the stage version being cut. Whatever reasons caused the cuts to be made for a TV production, they apparently enhanced the show immeasurably from the perspective of the critics. This would suggest that the show actually works best as a televised production.
This semester, I had an interesting balance of old and new opera by having this course, where we look at some of the latest in opera, as well as Opera Literature 1, which looks at the very start of opera. I have found that videos of the older operas, while entertaining, almost always feel like they are missing something. In contrast, I have found that the more recent operas seem to work much better on film. While I of course prefer live opera, it seems that operas created in our television- / movie-driven society stand up to being presented in this medium more effectively than their predecessors.
Stereotypes: Then and Now
From what I have been reading of everyone else's blogs, it seems that I am not alone to have come from our class on Tuesday thinking a lot about stereotypes. It was an essential element of our discussion on Willie Stark, and like many of my peers, it lead me to further thought on the topic since. I began to consider the idea of stereotypes over the wider span of theatre, musical and otherwise.
By looking at the history of the dramatic arts, it is clear that early in our recorded history man had already realized that stereotypes make things accessible to a large population. From what I have experienced, the first truly masterful use of stereotypes on a wide scale came with the advent of comedia dell'arte. Here you had an entire art form built around stereotypes: the lovers, the bumbling old men, the clever servant, the acrobatic fool. To add to the stereotypical nature of comedia, the characters were even originally designed to represent stereotypes of specific Italian regions or cities (for example, Pantalone was the embodiment of Venice). These characters found their way into grand opera with such characters as Susanna (Columbina), Doctor Bartolo (Il Dottore) and Cherubino / Barbarina (Innamorati) in Le nozze di Figaro.
I believe that the popular use of stereotypes in this manner is, like Rachel suggests, a key element that "makes stories universal and timeless." By creating characters to which everyone can relate, you make the story appeal to a broad audience and make it more likely that this connection will continue into the next generation. I believe that Willie Stark captures this well; if I had any doubts about it before Tuesday's class, they were laid to rest as various students talked about how they recognized someone in their own life that paralleled this character or that.
By looking at the history of the dramatic arts, it is clear that early in our recorded history man had already realized that stereotypes make things accessible to a large population. From what I have experienced, the first truly masterful use of stereotypes on a wide scale came with the advent of comedia dell'arte. Here you had an entire art form built around stereotypes: the lovers, the bumbling old men, the clever servant, the acrobatic fool. To add to the stereotypical nature of comedia, the characters were even originally designed to represent stereotypes of specific Italian regions or cities (for example, Pantalone was the embodiment of Venice). These characters found their way into grand opera with such characters as Susanna (Columbina), Doctor Bartolo (Il Dottore) and Cherubino / Barbarina (Innamorati) in Le nozze di Figaro.
I believe that the popular use of stereotypes in this manner is, like Rachel suggests, a key element that "makes stories universal and timeless." By creating characters to which everyone can relate, you make the story appeal to a broad audience and make it more likely that this connection will continue into the next generation. I believe that Willie Stark captures this well; if I had any doubts about it before Tuesday's class, they were laid to rest as various students talked about how they recognized someone in their own life that paralleled this character or that.
Saturday, February 20, 2010
Response to Marian's "Satyagraha Staging"
Not having had the pleasure of discussing the artistic aspects of Glass's Satyagraha in depth yesterday, I found it very interesting to read Marian's post about the class discussion on this topic. Particularly of interest to me was the concept of Satyagraha performed in the style of Disney's "It's a Small World" ride.
The first thoughts that I had about this idea go along with Marian's discussion of having an unlimited budget. The thought of some gigantic theme park-styled creation through with the audience travels during the course of several hours seems appealing if for no other reason than the uniqueness of the experience. With Glass's connection to the film industry, it is not even entirely unreasonable to conceive such feature being found at a park such as Universal Studios in Orlando. Given a limitless budget, I could see each scene as a multi-faceted experience, perhaps each scene housed in its own room. The most visual image I have is of the battlefield, with the audience vehicles weaving in and out of the factions on stage. By creating a set that is actually a multi-dimensional world for the audience to experience, you nearly guarantee that attention is held far more effectively than you might find in a more traditional staging of the opera.
These thoughts of budgetary grandeur aside, I do believe there is a slightly more feasible way to create a similar experience for an audience. If you do a broadcast such as the MET does with their HD broadcasts to movie theaters, that would create the basis for my idea. For anyone who has ever been to Busch Gardens in Williamsburg, Virginia, and has gone on the 4D ride in Ireland there, you will understand this concept. The film would involve 3D visual effects that could allow a perceived experience of traveling throughout the set, just as if you were in a vehicle riding among the performers. The added dimension, though, is that the seats are part of a rig that moves with what you are seeing. An example (sticking with the idea of the battlefield set): at one point, the perspective of the audience becomes an aerial one, where you are looking down on the scene unfolding beneath you: the seats actually tip forward, as if the vehicle you were in was pointed down at the set below. This also would allow more intricate perspectives for the audience than could be arranged in an actual vehicle: it would be far more difficult to have a real vehicle, perhaps on a track of some kind, soaring down from above the action. Movies would allow that to work easier.
This idea also seems fitting when considering the kind of imagery used in Koyaanisqasti, particularly the shots soaring over landscapes.
The first thoughts that I had about this idea go along with Marian's discussion of having an unlimited budget. The thought of some gigantic theme park-styled creation through with the audience travels during the course of several hours seems appealing if for no other reason than the uniqueness of the experience. With Glass's connection to the film industry, it is not even entirely unreasonable to conceive such feature being found at a park such as Universal Studios in Orlando. Given a limitless budget, I could see each scene as a multi-faceted experience, perhaps each scene housed in its own room. The most visual image I have is of the battlefield, with the audience vehicles weaving in and out of the factions on stage. By creating a set that is actually a multi-dimensional world for the audience to experience, you nearly guarantee that attention is held far more effectively than you might find in a more traditional staging of the opera.
These thoughts of budgetary grandeur aside, I do believe there is a slightly more feasible way to create a similar experience for an audience. If you do a broadcast such as the MET does with their HD broadcasts to movie theaters, that would create the basis for my idea. For anyone who has ever been to Busch Gardens in Williamsburg, Virginia, and has gone on the 4D ride in Ireland there, you will understand this concept. The film would involve 3D visual effects that could allow a perceived experience of traveling throughout the set, just as if you were in a vehicle riding among the performers. The added dimension, though, is that the seats are part of a rig that moves with what you are seeing. An example (sticking with the idea of the battlefield set): at one point, the perspective of the audience becomes an aerial one, where you are looking down on the scene unfolding beneath you: the seats actually tip forward, as if the vehicle you were in was pointed down at the set below. This also would allow more intricate perspectives for the audience than could be arranged in an actual vehicle: it would be far more difficult to have a real vehicle, perhaps on a track of some kind, soaring down from above the action. Movies would allow that to work easier.
This idea also seems fitting when considering the kind of imagery used in Koyaanisqasti, particularly the shots soaring over landscapes.
Passive Civil Disobedience: Perhaps Not the American Way?
As we have been talking about the non-violent approach to civil disobedience employed by Ghandi and his followers in India, and expounded upon in Satyagraha, I have thought more about why the American separation from the British Empire was so drastically different. While no sociologist or anthropologist who can identify the cultural reasons and implications of my idea, I nonetheless believe that there is something ingrained in the American psyche that causes us to be more forceful in defending our beliefs than other peoples around the world.
Looking back over our history, when the American people have tried to defend their rights, particularly those pertaining to freedom, we have always done so in a forceful way. Even before the Revolutionary War, we resorted to actions such as the Boston Tea Party; an act of destroying British property / goods. Then we had the Revolutionary War, followed by the War of 1812. After that, our country was firmly established, and our sovereignty secure.
The violence does not stop there, however. When the region now comprising Texas and the other border states with Mexico came into dispute in the mid-nineteenth century, the Mexican War ensued. Here, we had many future leaders of the American Civil War fighting alongside each other. Again, our response to possibly losing this land, this portion of our freedom, was war.
The American Civil War is arguably the greatest example of this trend in American history. No matter which cause of the war you agree with, be it to free the slaves held in the South or to defend a state's right to govern itself, you again have this idea of freedom being challenged. The resulting violent protest lasted four years and ended with over 350,000 wounded and nearly 200,000 dead. This was the ultimate example of the American reaction to threatened freedom, for it was American vs. American, each with their own views of why they were fighting.
Now, this is by no means to say that such events are unique to the history of the United States. It is merely intended as a way of identifying one possible reason why the idea of non-violent civil disobedience, which Kozinn points out is the main theme of Satyagraha, may seem rather foreign to our culture, one that has known violence as the standard reaction to threatened freedom.
Looking back over our history, when the American people have tried to defend their rights, particularly those pertaining to freedom, we have always done so in a forceful way. Even before the Revolutionary War, we resorted to actions such as the Boston Tea Party; an act of destroying British property / goods. Then we had the Revolutionary War, followed by the War of 1812. After that, our country was firmly established, and our sovereignty secure.
The violence does not stop there, however. When the region now comprising Texas and the other border states with Mexico came into dispute in the mid-nineteenth century, the Mexican War ensued. Here, we had many future leaders of the American Civil War fighting alongside each other. Again, our response to possibly losing this land, this portion of our freedom, was war.
The American Civil War is arguably the greatest example of this trend in American history. No matter which cause of the war you agree with, be it to free the slaves held in the South or to defend a state's right to govern itself, you again have this idea of freedom being challenged. The resulting violent protest lasted four years and ended with over 350,000 wounded and nearly 200,000 dead. This was the ultimate example of the American reaction to threatened freedom, for it was American vs. American, each with their own views of why they were fighting.
Now, this is by no means to say that such events are unique to the history of the United States. It is merely intended as a way of identifying one possible reason why the idea of non-violent civil disobedience, which Kozinn points out is the main theme of Satyagraha, may seem rather foreign to our culture, one that has known violence as the standard reaction to threatened freedom.
Monday, February 15, 2010
A response to Claire's Post: "Musicals and TV"
I find this train of thought rather interesting, despite the fact that it does not directly connect to our discussion on Barber. However, I find a valid connection in the distinction between something that is sheer spectacle and something that has dramatic substance. In essence, this could be a way of looking at the difference between Barber's concept and that of Zeffirelli. This also connects to my other post this week.
Barber was inspired by a dramatic work, Shakespeare's play of Antony and Cleopatra. This is a tragedy / history from one of the greatest dramatic minds in the history of the English-speaking world. Any opera inspired by the play itself would have to be driven by a desire to capture the dramatic essence of the play in an operatic medium. To satisfy this desire, the gradiose spectacle of such works as Aida or Wagner's Ring Cycle would not necessarily be appropriate. Remember, many of Shakespeare's plays were performed on a stage with minimal sets and very little in the way of special effects.
Zeffirelli's concept would have fallen into this idea of the spectacle superseding the drama. In musical theater terms, Zeffirelli's idea would have been a Disney production like Tarzan was on Broadway. Lots of flying bugs and monkeys on bungee chords all over the stage, but not an instant theatrical classic.
Barber was inspired by a dramatic work, Shakespeare's play of Antony and Cleopatra. This is a tragedy / history from one of the greatest dramatic minds in the history of the English-speaking world. Any opera inspired by the play itself would have to be driven by a desire to capture the dramatic essence of the play in an operatic medium. To satisfy this desire, the gradiose spectacle of such works as Aida or Wagner's Ring Cycle would not necessarily be appropriate. Remember, many of Shakespeare's plays were performed on a stage with minimal sets and very little in the way of special effects.
Zeffirelli's concept would have fallen into this idea of the spectacle superseding the drama. In musical theater terms, Zeffirelli's idea would have been a Disney production like Tarzan was on Broadway. Lots of flying bugs and monkeys on bungee chords all over the stage, but not an instant theatrical classic.
Shakespeare on the operatic stage: Why won't it work?
One idea briefly mentioned in the article has caused me a lot of thought: Why was it that only one Shakespearean adaptation that used the Bard's language was successful? I admit that I am not particularly familiar with Britten's A Midsummer Night's Dream, but I do know the play. I believe that the best explanation I can surmise lies in that very source: the play itself.
In the article we read, Heyman states that not only was Midsummer the only successful adaptation of word-for-word text from the Bard, but that all of the Roman tragedies had proven infertile ground for opera libretti. I believe this is the result of a fundamental aspect of opera: opera is larger than life.
When I think of Egypt on the operatic stage, of course my first thought is of Aida, and specifically of a set for it which I saw on the stage of the Arena Theater in Verona, Italy. We were touring the Arena during the day while the stagehands were assembling the stage for Aida that night, and I was awed by the sheer magnitude of the golden sphinx and other statues that adorned the stage. While this seems to fit perfectly into the ideas that Zeffirelli had about Barber's Antony and Cleopatra, it doesn't mesh with the Shakespearean play that was the inspiration for Barber.
Shakepeare was deeply interested in the human aspects of his characters in the Roman tragedies / histories. Thus we see development between these great men and not only Cleopatra, but their own wives, too. You see this in both Julius Caesar and Antony and Cleopatra. The characters are more real, more life-like, than might easily be adaptable to the operatic stage. In contrast, A Midsummer Night's Dream deals with fairies, magic, transformation of a human into a donkey...in other words, wonderful fodder for operatic development.
In the article we read, Heyman states that not only was Midsummer the only successful adaptation of word-for-word text from the Bard, but that all of the Roman tragedies had proven infertile ground for opera libretti. I believe this is the result of a fundamental aspect of opera: opera is larger than life.
When I think of Egypt on the operatic stage, of course my first thought is of Aida, and specifically of a set for it which I saw on the stage of the Arena Theater in Verona, Italy. We were touring the Arena during the day while the stagehands were assembling the stage for Aida that night, and I was awed by the sheer magnitude of the golden sphinx and other statues that adorned the stage. While this seems to fit perfectly into the ideas that Zeffirelli had about Barber's Antony and Cleopatra, it doesn't mesh with the Shakespearean play that was the inspiration for Barber.
Shakepeare was deeply interested in the human aspects of his characters in the Roman tragedies / histories. Thus we see development between these great men and not only Cleopatra, but their own wives, too. You see this in both Julius Caesar and Antony and Cleopatra. The characters are more real, more life-like, than might easily be adaptable to the operatic stage. In contrast, A Midsummer Night's Dream deals with fairies, magic, transformation of a human into a donkey...in other words, wonderful fodder for operatic development.
Sunday, February 7, 2010
Optimism and the Loss Thereof in Bernstein's Candide
Friday's discussion of optimism, particularly in the Chenoweth / Groves version of Bernstein's Candide, lead to further thought on my part after our class discussion ended. I wanted to expound a bit more upon my ideas on the topic.
To me, the most poignant aspect of Candide is the cynicism inherent in the protagonist's loss of innocence and naivete. It is a love story not of the mold. Yes, the story contains familiar romantic elements such as Boy loves Girl, Boy loses Girl, and Boy gets Girl in the end. However, the details surrounding these familiar situations are not what we expect to find in a romantic comedy. The most drastic break from the expected outcome of a more optimistic love story comes with the final element, Boy and Girl marrying and being together. Unlike in most modern love stories, where the differences that caused an initial separation are resolved and everyone ends up happy, Candide and Cunegonde do not merely resolved all their problems. Instead, the story is about accepting things as they are. The idealized lives they each had envisioned in the beginning of the opera are finally realized to be nothing more than unattainable dreams. Instead, the couple accepts their lot in this world and endeavor to make the most of it.
To me, this determination and acceptance of reality is very admirable in the characters, but is not exactly the optimistic resolution one might hope for. However, despite this end being perhaps more earthy and grounded than one might wish, I find it more powerful. This loss of some of the initial optimism of the characters creates a stirring, realistic message to the audience that I believe is very applicable to the world we live in today. Our world is far from ideal; far from Utopian. However, the only hand we can play is that which we are dealt. If we venture forth with a determination to "make our garden grow", we can make the most of the imperfect world we live in, and perhaps one day make things truly better.
I believe that the power of this conclusion is lost in the Chenoweth / Groves production, because I believe they overshadow the more serious, less optimistic elements with their glitz and glamour.
To me, the most poignant aspect of Candide is the cynicism inherent in the protagonist's loss of innocence and naivete. It is a love story not of the mold. Yes, the story contains familiar romantic elements such as Boy loves Girl, Boy loses Girl, and Boy gets Girl in the end. However, the details surrounding these familiar situations are not what we expect to find in a romantic comedy. The most drastic break from the expected outcome of a more optimistic love story comes with the final element, Boy and Girl marrying and being together. Unlike in most modern love stories, where the differences that caused an initial separation are resolved and everyone ends up happy, Candide and Cunegonde do not merely resolved all their problems. Instead, the story is about accepting things as they are. The idealized lives they each had envisioned in the beginning of the opera are finally realized to be nothing more than unattainable dreams. Instead, the couple accepts their lot in this world and endeavor to make the most of it.
To me, this determination and acceptance of reality is very admirable in the characters, but is not exactly the optimistic resolution one might hope for. However, despite this end being perhaps more earthy and grounded than one might wish, I find it more powerful. This loss of some of the initial optimism of the characters creates a stirring, realistic message to the audience that I believe is very applicable to the world we live in today. Our world is far from ideal; far from Utopian. However, the only hand we can play is that which we are dealt. If we venture forth with a determination to "make our garden grow", we can make the most of the imperfect world we live in, and perhaps one day make things truly better.
I believe that the power of this conclusion is lost in the Chenoweth / Groves production, because I believe they overshadow the more serious, less optimistic elements with their glitz and glamour.
My Introduction to Opera
This past week, a conversation began in class about how we all were introduced to opera. I found it interesting, though certainly not unexpected, how many different paths have lead us all to where we are today. I followed just one more, different path.
I began an interest in musical theatre early on, appearing in my first musical, Oliver, at the age of 10. I was hooked years before this, though, by a recording my parents had of The Phantom of the Opera. They purchased the recording in 1993, when they went to the National Tour performance in Detroit, Michigan. I started listening to the two audio cassettes soon after, and was hooked. I think that this lead me to an early appreciation of the classically trained voice.
The next big hook for me came one morning when I was around 13 years old. The television show Good Morning, America, was holding a wedding in Times Square, and for a special song had brought in British tenor Russell Watson. He sang the song "Caruso", and I was amazed at his ability to switch between a lighter, almost pop-ish sound, to the full-voiced classical singing of the refrain. I began to purchase his CDs, and then took a chance on a compilation CD of various tenors. Of the 18 tracks on this CD, Watson sang one, Andrea Bocelli sang one, and Giuseppe di Stefando sang one. The remaining 15 were evenly divided between Carreras, Domingo, and Pavarotti. This was my first big exposure to The Three Tenors, and I instantly became a Pavarotti admirer. This was the final hook I needed to become a true opera fan.
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