I think I have had two epiphanies in my life: one was the discovery of classical music, and Bach in particular. The other I only realized recently as it was a very slow epiphany in contrast to the musical one. I think I would call it a "scholarship" epiphany as, over a number of years, I slowly came to a sense of the vast well of the history of civilization and of the scholars who not only chronicled it, but made sense of it and essentially uncovered what was happening. Perhaps the first foreshadowing of this was when, in my late teens, I started reading books on classical music from the local library. But it really only took hold when I attended university at age twenty. I discovered the great threads of the tapestry in philosophy, history and so on. I began to realize that there were certain scholars that actually had a commanding knowledge and understanding of these things. Perhaps the first was Frederick Copleston whose multi-volume history of philosophy I started to read in my first year at university. Actually, I think I am still reading it! I just re-read the first couple of volumes a year or so ago. Later on I discovered the work of historians Oswald Spengler and Arnold Toynbee and still later I became familiar with Joseph Kerman on Beethoven and Richard Taruskin on all manner of musicological topics. Other giant figures in musicology were Charles Rosen on Classical style and Willi Apel on ancient music. I have a somewhat battered copy of his indispensable The Notation of Polyphonic Music 900 - 1600 on my shelf. What do all these disparate figures have in common? They really know their field.
Reading Kerman's book on opera I realize what an utter neophyte I am in this area, despite having played in the pit in three or four opera productions. I know almost nothing! Kerman notices that much of the commentary on the relatively recent musical genre of opera--only 400 years old!--talks largely about the musical techniques and does not delve into the dramaturgy of the form. This is what he tries to rectify.
The book ends with a critical evaluation of two 20th century operas: Wozzeck by Alban Berg and The Rake's Progress by Stravinsky. Regarding the contrasting schools of compositional thought, serialism in the former and neo-classicisism in the latter he says:
This is the kind of intensely learnĂ©d and critically aware scholarship that is so rare these days.Both stylistic principles have been miserably abused, and both schools protect their fair share of the talentless. The great trouble with conventional discussions of contemporary music is that they center too much on style, and not enough on meaning. Style for what? The critical disparity is natural enough; meanings are hard to estimate while artists are in the process of formulating them, and hard to express under any circumstances. In the field of opera, perhaps, these difficulties are a little less intense than with purely instrumental music. We can see and say what an opera is trying to project. These masterpieces of Berg and Stravinsky are bigger than their schools, and it is parochial to regard them simply either-or as signposts to “the music of the Future.”Kerman, Joseph. Opera As Drama . Knopf Doubleday Publishing Group. Kindle Edition.
This is the Vienna Opera production of Wozzeck, released in 1988. This is just Act I, but you can find the rest on YouTube. I first heard this opera forty years ago, but I only now realize how little I understood it!
I've yet to begin reading Opera as Drama (although I downloaded the Kindle version weeks ago, after that Guy Dammann review contrasting emphasis on theater versus pre-eminence of the voice) and you've raised my happy expectations. Opera and the Morbidity of Music looks good, too, 'morbidity of music' being the infamous 'death' of classical music that people use as an excuse for this and that.
ReplyDeleteI looked at Regietheater in Wikipedia-- "(s)upporters of Regietheater will insist that works from earlier centuries not only permit but even demand to be re-invented in ways that not only fit contemporary intellectual fashion but even strive to connect them with situations and locations of which the original composers and librettists could not have conceived, thus setting the story into a context the contemporary audience can relate to"-- and wonder how Kerman dealt with this. I'm apprehensive that his Opera as Drama is used as a manifesto, of sorts, for that trend or style (which may or may not work, depending on the director/producer). Must open the book!
I didn't see Rinaldo at Glyndebourne but I have doubts about the opera being set (Robert Carsen's 2011 production) in a school with everyone being sex-starved teenage students or else sex-starved teachers; on the other hand, of the six reviews I read, five of the reviewers were happy enough (and the sixth was grumpy about 'staleness'-- after only 8 years!) and in the seventh one the reviewer was (perhaps rightly) most concerned to point out the imperfections of the Rinaldo, not to critique the production itself.
The Kerman book was published in 1956 and there probably wasn't any Regietheater around at that point. In any case, he doesn't talk about it. What he does talk about is, well, opera as drama. How the music and the libretto both contribute to the whole of the dramatic narrative. Once you get into it, I would appreciate your comments. It is not a very long book.
ReplyDeleteAs is so often the case I didn't make it very clear what my point was, tsk: that my concern is that the Regietheater people used Kerman's Opera as Drama or aspects of it as a source or justification or argument for their innovations-- obviously the publication of the book predates Regietheater. And, if that's the case, if there is some intellectual filiation between Kerman and e.g. Carsen's Rinaldo-in-high-school then I might not be inclined to welcome all of Kerman's theses. I'll get it read before too much longer, I hope.
ReplyDelete"Regarding the contrasting schools of compositional thought, serialism in the former and neo-classicisism in the latter..."
ReplyDeleteWozzeck is not serialist but freely atonal. Lulu is Berg's serialist opera.
Marc, ah yes, I see your point now. Not sure what he might have made of those directors. But there might be something in one of his more recent books.
ReplyDelete