"Opera is sexy!" I remember the time this innocent tweet from a music community tweep sparked a long, lively conversation between me and another tweep. His problem was that people always say that in an attempt to give opera broader appeal and reel in new audience members. He argued that not everything needs to be sexy, that opera can stand on its other merits, that "sexy" doesn't have to come into play. He's right. For example, The Met's ad campaign from last year clearly utilizes the sex appeal of the international stars gracing its stage, with Anna Netrebko in the throes of ecstasy, Diana Damrau and Vittorio Grigolo entwined atop silk sheets, and Elina Garanca giving us her best 90s Leonardo DiCaprio, one hand seductively stroking Renee Fleming's hair. This is only the latest in a string of aesthetics-based choices at The Met. Then we have those regie European productions, where nudity is practically de rigeur. Gratuitous nudity is in vogue, for example the shower scene in Glyndebourne's Der Rosenkavalier.
So, yes, not everything needs to be sexy and this trend towards hyper-sexualization is not doing the art form any favors. He's right. He's also wrong. Opera IS sexy. It's intrinsically sexy, for so many reasons. The stories are emotionally charged and sparks constantly fly between lovers. They deal with seduction, revenge, sex, and passionate love. The music is intoxicating and sweeps through the fourth wall to envelop and arouse the audience. Singing opera can be arousing. Opera is a safe space to explore and experience the many facets of desire. Opera doesn't need to be sexy. It just is.
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David McVicar directed a production of Händel's Giulio Cesare at Glyndebourne in 2005. It starred Sarah Connolly and Danielle de Niese, and was set in 19th-century colonial Egypt. Some kind soul uploaded a complete version of it to YouTube, although it has since been taken down. A while back, I watched the entire opera, absolutely loved it, then proceeded to read the comments. I recently rediscovered a document where I had recorded some of those comments. While there were many many positive comments, there were a few people who wrote that the "absurd modern production" was "a disaster" and the opera was "spoilt".
I honestly don't empathize with their objections. I understand what they are driving at: they want opera productions to be historically accurate and serve the composer's music first and foremost. These traditionalists are necessary because they constantly challenge new choices, which encourages the innovators to really think through their choices and make sure they make sense instead of doing something just for the sake of being the first person to do it. They are a valuable part of the artistic and historical dialogue in the opera world. However, I despise the immediate dismissal of anything that attempts to approach a work in a new way. They have a bad habit of using the fact that something isn't historically accurate to justify their personal dislike for a production. They have a resistance to just saying, "this didn't speak to me," possibly for fear of seeming uncultured. It is fine to dislike a production, or even an opera. Operas span hundreds of years; there is bound to be at least one era or composer that rubs you the wrong way, in the same way that one of the hundreds of stagings of a repertory opera will not work for you. Some of them are truly bizarre. That is all fine. But don't invalidate someone else's approach. This Cesare was not even close to the most ridiculous production I've seen. Hardly any of the choices detracted from the opera and many enhanced it. Go pick on the one where Cecilia Bartoli sings "V'adoro, pupille" astride a missile like everyone else. Merola Opera Program's Don Giovanni (directed by James Darrah with Martin Katz on the podium) was a dark, sexual, and thoroughly enjoyable experience. The production style was bleak and abstract. The staging was wonderfully varied. A standout exception to that was the end of Act I, where most of the characters were frozen except Don Giovanni and Zerlina, who were grappling in the midst of them. It was jarring next to the vibrant music and emotions and implied action; the still staging crippled the energy at a point where the show needed it most. However, apart from two or three moments like that, where it flat-out contradicted the spirit of the music and libretto, the staging was brilliant, layered, and well-executed. I absolutely adored the allusions to rape culture and how the production addressed the cultural themes and dysfunctional relationships within the opera. The tableau during the closing sextet that illustrated the characters' unhealthy relationship dynamics worked for me. Also, having Elvira physically overpower Leporello at the end made me extremely happy. Edward Nelson brought wonderful intensity to the role of Don Giovanni. His voice was consistent and clear throughout the registers. His recitativi showed off his extensive vocal palette; a few were a tad too quiet and fast for the space, but still kept core sound. His acting was top-notch. His presence was unbelievable. I found myself hating him and rooting for him at the same time. His commitment to the moment, the music, and the acting was memorable and moving. I liked the idea of Don Giovanni being an artist. The five or so sketchbooks made for really engaging staging during the Catalogue Aria. Seeing the nude sketches really illustrated exactly how far Don Giovanni gets with the women he seduces. It gave Karen Chia-ling Ho (Donna Elvira) some really visceral and immediate images to react to. Although it might have been good for Szymon Wach, who was a fabulously endearing Leporello, to have had more practice time with the sketchbooks, his occasional difficulties provided some emotionally truthful moments and unexpected humor. All of the ladies brought real depth and beauty to their roles, in addition to showcasing their phenomenal instruments. Amanda Woodbury was an incredible Donna Anna. Her strong, clear voice embodied Donna Anna's inner strength, while the sadness she drew from herself really tinted her character a heartbreaking hue. Yujin Kim was an energetic, adorable Zerlina. Karen Chia-ling Ho was my favorite. She was just so moving. Her excellent acting and vocal ability came together to really bring Donna Elvira to emotionally poignant life. Rhys Lloyd Talbot (Masetto) was really engaging, even as such a buffoonish character. Making him nearsighted was brilliant; it made the mistaken identity moment (which coincidentally had some strangely homoerotic staging for a hot minute right before Giovanni starts beating Masetto) much more believable. This was a phenomenal, innovative, engaging, and brilliantly-performed production. Bravi tutti. http://merolaopera.com/merolaartists http://merola.org/ I just made friends with a woman so vivacious I want to cry (in a good way). She is so open and effusive. She seems to spew sunlight and energy. Let's rechristen her Verve for now. Verve is a year older than me; is medium height; thin build; and has hair that was probably originally light brown but is currently a bright red that matches and broadcasts her personality.
What happened: I was crossing the street to the train station and I see a beautifully dressed woman out of the corner of my eye. I turn to look at her and she makes eye contact with me, grins hugely and sincerely, and says, "Hi!!!" I grin back, then we keep walking. She also ends up on the train platform, standing next to me. I look at her again and she smiles and giggles and I giggle and say, "sorry, but I really like your outfit!" She beams and says, "it's fine, that's a great complement to start the day!" (p.s. I'm probably totally paraphrasing all of the things. I remember the meaning of everything we said to each other perfectly; I'm just fuzzy on the details, since it's morning and I was more interested in enjoying the conversation than remembering it.) Then we started talking. She told me a good chunk of her residential history before we got on the train. I found out where she was born, how long she lived outside of California, and part of her father's employment history. I found out she went to Catholic school. Then we got on the train. We sat next to each other and continued talking. Eventually I found out she's an actress. Which totally explains her openness, energy, and presence. Also the fact that we clicked. I don't think it was her outfit that drew my attention; it was her radiance. Anywho, I wanted to tell you about this exciting person. I wanted to tell you about her liveliness. I wanted to tell you about her curiosity and energy. I wanted to tell you that she was so bright she filled me with light and warmth and love for the world. I wanted to tell you that she made my day. At 7 o'clock in the morning. And Verve, if you're reading this, I'm very glad I met you. Even if I never see you again, you made my life happier and brighter. Me: **sings "Svegliatevi nel core" from Händel's Giulio Cesare**
Sister: What was with your character, why's he so angsty? Me: Well, his dad's been murdered-- Sister: So he's Hamlet. Me: --and he has to avenge him-- Sister: So he's Hamlet. Me: Haha, well not exactly... Sister: He's Hamlet. I love my sister. |
AuthorMaayan is a Manhattan-based opera singer. Archives
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