I know I referenced this in another blog that I wrote, but I just have to say it again, this period of opera after 1950 is so incredibly diverse it boggles my mind. There’s just an amazing amount of inspiration and experimentation happening at this time and its influence on composers is extremely apparent. Willie Stark is the fourth opera we have watched/listened to in class, and I have yet to feel like any one of these operas is particularly similar to the other. Of course one can always make comparisons, but overall, they are vastly different.
In regard to Willie Stark, I really enjoyed the music and the story line, and I thought that for the most part, one truly enhanced the other. There were however, some scenes when I found the music to be slightly dull, but there were some beautiful moments. I’m a big fan of Carlisle Floyd, Susannah is without a doubt one of the best operas I have ever listened to and I hope someday to actually be able to see it performed. I love his use of folk song, harmonies and melodic lines, and the way he marries the text and the music together is just so beautiful. I heard a lot of similarities in terms of the musical components of Willie Stark and Susannah, however, I feel like Willie Stark almost has a Sondheim type of feel. There were moments when there was spoken dialogue, and moments when the characters were undoubtedly singing, but there were also moments when the singers were doing sort of a mix between singing and speaking, but it didn’t really seem like recitative. It reminded me of moments from Sondheim’s Into the Woods and A Little Night Music. He writes these musical numbers that are songs, but have a very speech like quality to them. At times I felt like I could have used a little more lyricism, but overall, I really enjoyed this work.
Sunday, February 28, 2010
Willie Stark goes to Hollywood
While I was watching this opera I kept trying to think of whom, all of these characters reminded me of, or who I would cast in place of the original roles. It’s funny that in watching Willie Stark, an opera, the only people I could think of were actors from film, and I’m relatively certain that none of them can really sing like these roles would require. For Willie Stark I kept thinking of Tom Hanks and the character he played in Charlie Wilson’s War. They both play very charismatic southerners and take part in some rather unsavory activities, and I could see Tom Hanks being a good match. The role of Jack Burden would go to James Franco, and Jack’s father, Judge Burden, would be played by Brian Dennehy. Anne Stanton was a tough one for me, I never really felt like I got a clear sense of who her character was. With that said I’m sort of leaning towards Scarlett Johansson, I think she would be able to play the two timing girlfriend of Jack, and the loving, yet apprehensive girlfriend of Willie Stark.
I think part of what makes me think of this opera as a movie, and surprisingly, a movie with a non musical cast, is because the opera in so many ways reminded me of characters from other movies I have seen, as well as the way the orchestration functioned almost like a film score. I remember reading in one of the articles that the music wasn’t really in the forefront of the opera. When the characters were singing, I disagree with that statement; I felt that the way the orchestra and voices worked together was very effective. However, when there was spoken dialogue or nothing really going on onstage, I feel like the orchestra helped to create intensity and tension, just like it would in a film score. At times I wasn’t even particularly aware that there was any music playing, but when I noticed the music in the background, I realized how effective it was at helping create and echo the tone of the drama unfolding on stage. The entire opera just seemed very movie-esque to me, and I liked that.
I think part of what makes me think of this opera as a movie, and surprisingly, a movie with a non musical cast, is because the opera in so many ways reminded me of characters from other movies I have seen, as well as the way the orchestration functioned almost like a film score. I remember reading in one of the articles that the music wasn’t really in the forefront of the opera. When the characters were singing, I disagree with that statement; I felt that the way the orchestra and voices worked together was very effective. However, when there was spoken dialogue or nothing really going on onstage, I feel like the orchestra helped to create intensity and tension, just like it would in a film score. At times I wasn’t even particularly aware that there was any music playing, but when I noticed the music in the background, I realized how effective it was at helping create and echo the tone of the drama unfolding on stage. The entire opera just seemed very movie-esque to me, and I liked that.
Sunday, February 21, 2010
Zoned Out
I mentioned in class that the visual aspect of the opera, no matter how out there I felt it to be, was one of the reasons I was able to stay engaged in the music. I would sort of zone out, something on stage would catch my eye, and I would be brought back to the music. I don’t think I would be able to listen to this music without having a visual to keep my attention.
Due to the repetitive and minimalist nature of the music I was unable to keep my focus. I found my mind would either wonder on to other things, or I would completely zone out. I think I mentioned in a past blog that I am a sucker for a beautiful melody, and I felt like that was lacking in this opera. However, I don’t believe that it was meant to have beautiful melodies and grand sweeping harmonies, that wasn’t the composer’s intent. That is not to say that I didn’t appreciate the work, but I wasn’t a huge fan.
I try to be open minded about new music, and there is a great deal of it that I truly do enjoy, but there is also a great deal that I do not enjoy. I’m concerned at times that I have become a narrow minded music snob because I don’t always care for more modern music. I absolutely appreciate new music and encourage new music to be written and performed; I am in no way suggesting that we only perform the “classics.” If we did that how would music ever evolve? But because I have listened to mostly classical music from probably 1920 and before, it’s difficult for me to get into some of these operas. With that said, I do feel like I’m gaining more perspective on operas written over the last 60 years, and a greater understanding of why and how they were written. If anything, I would say this is one of the most diverse and fascinating periods of composition I have ever studied.
I don’t think that I would choose to listen to Satyagraha again, but I value the experience of having watched and listened to the work. Overall I feel that there is a lot to be gained by listening to music outside of what we know and what we are comfortable with.
Due to the repetitive and minimalist nature of the music I was unable to keep my focus. I found my mind would either wonder on to other things, or I would completely zone out. I think I mentioned in a past blog that I am a sucker for a beautiful melody, and I felt like that was lacking in this opera. However, I don’t believe that it was meant to have beautiful melodies and grand sweeping harmonies, that wasn’t the composer’s intent. That is not to say that I didn’t appreciate the work, but I wasn’t a huge fan.
I try to be open minded about new music, and there is a great deal of it that I truly do enjoy, but there is also a great deal that I do not enjoy. I’m concerned at times that I have become a narrow minded music snob because I don’t always care for more modern music. I absolutely appreciate new music and encourage new music to be written and performed; I am in no way suggesting that we only perform the “classics.” If we did that how would music ever evolve? But because I have listened to mostly classical music from probably 1920 and before, it’s difficult for me to get into some of these operas. With that said, I do feel like I’m gaining more perspective on operas written over the last 60 years, and a greater understanding of why and how they were written. If anything, I would say this is one of the most diverse and fascinating periods of composition I have ever studied.
I don’t think that I would choose to listen to Satyagraha again, but I value the experience of having watched and listened to the work. Overall I feel that there is a lot to be gained by listening to music outside of what we know and what we are comfortable with.
Welcome to Opera World
It was mentioned in class that in Philip Glass’s quest to be considered a legitimate composer, he was perhaps hesitant to call his compositions ‘performance art,’ and thus labeled them as operas. Although I’m still not sure how I feel about the production I watched of Satyagraha, at times I felt the staging and costumes made the opera more of a spectacle, and detracted from the significance of the work, but I feel like there is a great opportunity with this opera to do something that’s never really been done before. On Friday we discussed the possibility of making opera more interactive, or an opera theme park, brilliant!
I do think that in the case of Satyagraha an interactive performance may push this opera even more towards performance art, probably much to the dismay of the composer, but I think it could add so much to the overall experience of this work. People had all sorts of ideas as to what sort of effects and staging should be used to tell this story and make it interactive with the audience. My personal favorite is audience seating that moves. I think it would be incredibly effective if the audience could move on platforms from left to right, and even up and down. Imagine how cool that last scene would be if the audience could rise up and pull backwards away from the action on stage during the last few minutes of the opera. Wind could blow on the audience and create the feeling of being outside, lighting and projections on the ceiling and walls of the house could create sunny or cloudy skies during the day and starry skies for night, and it would make the audience significantly more involved in opera. Someone even mentioned different smells being released into the room and pillows for the audience to sit on instead of chairs.
The possibilities are endless and I would love to see how far this idea could go, not just with Satyagraha, but with other operas as well. Imagine all of the dramatics of Tosca or Don Giovanni being done in a way in which the audience feels they are a part of the show, I think it would greatly increase the accessibility of opera today.
I do think that in the case of Satyagraha an interactive performance may push this opera even more towards performance art, probably much to the dismay of the composer, but I think it could add so much to the overall experience of this work. People had all sorts of ideas as to what sort of effects and staging should be used to tell this story and make it interactive with the audience. My personal favorite is audience seating that moves. I think it would be incredibly effective if the audience could move on platforms from left to right, and even up and down. Imagine how cool that last scene would be if the audience could rise up and pull backwards away from the action on stage during the last few minutes of the opera. Wind could blow on the audience and create the feeling of being outside, lighting and projections on the ceiling and walls of the house could create sunny or cloudy skies during the day and starry skies for night, and it would make the audience significantly more involved in opera. Someone even mentioned different smells being released into the room and pillows for the audience to sit on instead of chairs.
The possibilities are endless and I would love to see how far this idea could go, not just with Satyagraha, but with other operas as well. Imagine all of the dramatics of Tosca or Don Giovanni being done in a way in which the audience feels they are a part of the show, I think it would greatly increase the accessibility of opera today.
Sunday, February 14, 2010
Leontyne Price: My idol!
When reading the Heyman article, “A New Opera House,” there were sections that truly caused my stomach to sink and my heart to race. During any sort of a live performance mistakes can be made, machinery can malfunction, someone can miss a cue, etc… it’s live theater and it happens. However, while reading the sections of this article pertaining to the mistakes and malfunctions during the premier of Antony and Cleopatra; it was like reading an account of a performer’s worst nightmare.
I have a great deal of respect and admiration for everyone in that cast and especially Leontyne Price for their ability to handle everything that was thrown at them during that opening night at the Met; and I think it speaks volumes as to the professionalism of Leontyne Price. Firstly, her costumes were incredibly detailed and heavy. I think a lot of singers may have found it challenging to sing in a headdress that size, but Leontyne pulled it off. She was trapped in the giant pyramid at one point and had to sing from inside, and she was heard over the orchestra! There were missed lighting cues and as a result, Leontyne Price had to make an entrance in the dark. As if that wasn’t enough the turn table stopped working and had to be run manually by stage hands disguised in costume. The article at one point mentioned that in general, the music constantly had to compete with the noise of the machinery, as well as all of the live animals Zeffirelli insisted on having in the production.
When I was reading all of this all I could think of is what I would have done if I were in Leontyne Price’s shoes. She must have been so solid in her memorization of the music, text and staging to have made it through such a stressful opening night. Her talent is truly remarkable, and clearly, so is her work ethic and sense of camaraderie.
Heyman, "A New Opera House," Samuel Barber: The Composer and his Music, (New York: Oxford University Press, 1992), 428-460.
I have a great deal of respect and admiration for everyone in that cast and especially Leontyne Price for their ability to handle everything that was thrown at them during that opening night at the Met; and I think it speaks volumes as to the professionalism of Leontyne Price. Firstly, her costumes were incredibly detailed and heavy. I think a lot of singers may have found it challenging to sing in a headdress that size, but Leontyne pulled it off. She was trapped in the giant pyramid at one point and had to sing from inside, and she was heard over the orchestra! There were missed lighting cues and as a result, Leontyne Price had to make an entrance in the dark. As if that wasn’t enough the turn table stopped working and had to be run manually by stage hands disguised in costume. The article at one point mentioned that in general, the music constantly had to compete with the noise of the machinery, as well as all of the live animals Zeffirelli insisted on having in the production.
When I was reading all of this all I could think of is what I would have done if I were in Leontyne Price’s shoes. She must have been so solid in her memorization of the music, text and staging to have made it through such a stressful opening night. Her talent is truly remarkable, and clearly, so is her work ethic and sense of camaraderie.
Heyman, "A New Opera House," Samuel Barber: The Composer and his Music, (New York: Oxford University Press, 1992), 428-460.
The Barber I Thought I Knew
Perhaps naively, I thought I had a pretty good grasp on what Samuel Barber sounded like. I’ve sung a few of his works for voice and piano and heard many others and I adore his orchestral music; Adagio for Strings gives me chills every time I hear it and has been one of my favorite pieces for many years. This being said, I thought I knew what an opera by Samuel Barber would consist of. Before listening to Antony and Cleopatra, I was expecting beautiful arias and heart breaking melodies and orchestration throughout. After reading the article “A New Opera House,” by Heyman, I knew that there had been a serious miscommunication or misunderstanding between Barber and the director/ librettist Franco Zeffirelli, as to the staging, sets, costumes and over all enormous scale of this production. However, even after knowing this I was still expecting the music to sound like the Samuel Barber I know and love.
It may be because I am a sucker for a melody, but I was really disappointed by this opera. I love it when I listen to a work for the first time and a tune gets stuck in my head, or I have some sort of an emotional response to the music. That didn’t happen once in this opera. I found the music to be quite frankly, boring, and it was difficult to understand the text. As much as it pains me to say this, I couldn’t wait for it to be over. There were a few moments where I heard snippets of what I would typically associate with Samuel Barber, but for the most part I felt that this opera was dull and monotonous. I think it’s wonderful when composers experiment with their creativity and try something new, and I would never want to discourage that practice, but I think in the case of Antony and Cleopatra, it just didn’t work for me.
Having listened to Antony and Cleopatra, I’m very interested in listening to Vanessa¸ the opera Barber wrote before Antony and Cleopatra. Perhaps I would reach the conclusion, that what I think I know about Samuel Barber, is false. I’m sure he is much more than what I know him to be as a composer, and maybe that is the problem.
Heyman, "A New Opera House," Samuel Barer: The Composer and his Music, (New York: Oxford University Press, 1992), 428-460.
It may be because I am a sucker for a melody, but I was really disappointed by this opera. I love it when I listen to a work for the first time and a tune gets stuck in my head, or I have some sort of an emotional response to the music. That didn’t happen once in this opera. I found the music to be quite frankly, boring, and it was difficult to understand the text. As much as it pains me to say this, I couldn’t wait for it to be over. There were a few moments where I heard snippets of what I would typically associate with Samuel Barber, but for the most part I felt that this opera was dull and monotonous. I think it’s wonderful when composers experiment with their creativity and try something new, and I would never want to discourage that practice, but I think in the case of Antony and Cleopatra, it just didn’t work for me.
Having listened to Antony and Cleopatra, I’m very interested in listening to Vanessa¸ the opera Barber wrote before Antony and Cleopatra. Perhaps I would reach the conclusion, that what I think I know about Samuel Barber, is false. I’m sure he is much more than what I know him to be as a composer, and maybe that is the problem.
Sunday, February 7, 2010
Excuse Me While I Vent
Although I did enjoy the Kristen Chenoweth version of Candide that I watched online, I was really annoyed by the musical numbers that they left out. I know that I mentioned this in class, but clearly I’m not over it, so here I go.
I feel very strongly that the song “Nothing More Than This,” was the first time that Candide realizes who Cunegonde really is, and begins to come to terms with the journey he has been on. I made the point in class that it is in this moment, when he put Cunegonde in her place, that she truly hears what he is saying, and that this is what sparks her transformation at the end of the opera. However, although I do believe that Cunegonde understood the significance of his words, she has yet to change. In the recording I have of this opera, Bernstein Conducts Candide, the narration states that “Cunegonde’s nagging gets worse and worse,” and that “Candide does not speak.” I completely forgot about the next song, “Universal Good,” in which the text states:
It isn’t until after this song is sung by the chorus that both Candide and Cunegonde accept the past, and accept one another for who they truly are, because they love each other. Candide finally speaks, and asks Cunegonde to marry him. It is at this point that we hear “Make our Garden Grow.” Knowing the back story makes “Make our Garden Grow” so much more powerful. It gives meaning to the words they are singing and it no longer seems so random and out of place. I know that this is a satirical opera and allows for liberties to be taken, but there is a serious undertone to this opera, and I feel that the two pieces that were cut out are incredibly vital to this work, and not including them detracts from the message and believability of the opera.
Bernstein Cunducts Candide, Leonard Bernstein. Deutsche Grammophon GmbH, Digital Stereo 449 656-2, 1991.
I feel very strongly that the song “Nothing More Than This,” was the first time that Candide realizes who Cunegonde really is, and begins to come to terms with the journey he has been on. I made the point in class that it is in this moment, when he put Cunegonde in her place, that she truly hears what he is saying, and that this is what sparks her transformation at the end of the opera. However, although I do believe that Cunegonde understood the significance of his words, she has yet to change. In the recording I have of this opera, Bernstein Conducts Candide, the narration states that “Cunegonde’s nagging gets worse and worse,” and that “Candide does not speak.” I completely forgot about the next song, “Universal Good,” in which the text states:
“Life is neither good nor bad. Life is life and all we know.
Good and bad and joy and woe Are woven fine, are woven fine.
All the travels we have made, All the evils we have known, Even paradise itself,
Are nothing now, are nothing now.”
It isn’t until after this song is sung by the chorus that both Candide and Cunegonde accept the past, and accept one another for who they truly are, because they love each other. Candide finally speaks, and asks Cunegonde to marry him. It is at this point that we hear “Make our Garden Grow.” Knowing the back story makes “Make our Garden Grow” so much more powerful. It gives meaning to the words they are singing and it no longer seems so random and out of place. I know that this is a satirical opera and allows for liberties to be taken, but there is a serious undertone to this opera, and I feel that the two pieces that were cut out are incredibly vital to this work, and not including them detracts from the message and believability of the opera.
Bernstein Cunducts Candide, Leonard Bernstein. Deutsche Grammophon GmbH, Digital Stereo 449 656-2, 1991.
Saturday, February 6, 2010
Pushing the Envelope - To do or Not to do
Whether you’re a diehard opera buff or you appreciate the art form from a distance, it is clear to see that for many, the stereotypical idea of opera is changing. Opera can be seen as more than people acting and singing in 18th and 19th century costumes while in extravagant historical settings. It is particularly important in these difficult economic times to get people to the opera, and opera companies are pushing the envelope more than ever. Whether it’s the subject matter of new operas or the reinterpreting of old operas, the art is changing, but is this effective? In trying to appeal to those who wouldn’t normally attend a performance of an opera, are they turning others off?
In class today we briefly discussed interpretations of operas involving different settings, scenarios and staging, and at what point these reinterpretations begin to undermine the music and the drama and become more of a spectacle? I believe there truly is a fine line; so many operas can be adapted in incredibly intelligent and creative ways, appealing to people who love opera as well as to those who wouldn’t ordinarily consider attending an opera. However, there are also those occasions in which directors seem to push the envelope just for the sake of pushing the envelope. I also think that there is something to be said for a classic opera production produced in time-honored settings and costumes. Several people mentioned that seeing a more traditional opera production was what originally turned them on to this art form; it didn’t take an otherworldly adaptation set on the moon with the cast half nude and flying around the stage simulating a zero gravity environment.
In my opinion, the opera interpretations designed to create controversy probably turn off just as many people as they attract, if not more. While more traditional opera productions and truly creative adaptations could quite possibly bring in more of the people who love opera as well as those who wouldn’t ordinarily attend such an event. I suspect that there’s a balance in place, opera isn’t going to appeal to everyone, but there is enough variety out there to appeal to someone.
In class today we briefly discussed interpretations of operas involving different settings, scenarios and staging, and at what point these reinterpretations begin to undermine the music and the drama and become more of a spectacle? I believe there truly is a fine line; so many operas can be adapted in incredibly intelligent and creative ways, appealing to people who love opera as well as to those who wouldn’t ordinarily consider attending an opera. However, there are also those occasions in which directors seem to push the envelope just for the sake of pushing the envelope. I also think that there is something to be said for a classic opera production produced in time-honored settings and costumes. Several people mentioned that seeing a more traditional opera production was what originally turned them on to this art form; it didn’t take an otherworldly adaptation set on the moon with the cast half nude and flying around the stage simulating a zero gravity environment.
In my opinion, the opera interpretations designed to create controversy probably turn off just as many people as they attract, if not more. While more traditional opera productions and truly creative adaptations could quite possibly bring in more of the people who love opera as well as those who wouldn’t ordinarily attend such an event. I suspect that there’s a balance in place, opera isn’t going to appeal to everyone, but there is enough variety out there to appeal to someone.
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