THE MUSIC SALON: classical music, popular culture, philosophy and anything else that catches my fancy...
Wednesday, March 18, 2020
What's Wrong with Haydn Opera?
After Haydn opera came up briefly in the comments the other day I decided to have a listen. I've had this big box of Haydn for a while:
I have listened through the whole box, 160 CDs, but I don't recall the operas at all. So I put on his last opera, L'Anima del Filosofo, composed in 1791 and never performed (due to a dispute between King George III and the Prince of Wales) until 1951! So what is wrong with Haydn operas? Search me. The music sounds up to the usual Haydn standards of excellence: well-crafted orchestral parts, tuneful arias, rousing choruses. Nothing wrong that I can hear. Perhaps the libretto is seriously flawed, but I can't tell. What makes an opera successful? And why are Haydn operas not successful? You got me.
I just discovered that there is a fine performance from 1995 on YouTube with Concentus Musicus conducted by Nicolaus Harnoncourt and with Cecilia Bartoli singing the part of Euridice (despite the title, the opera is on the perennial tale of Orpheus and Euridice.
Haydn's operas are pleasant with his usual excellence of orchestral writing. They don't appeal to a typical opera crowd because they lack drama, don't have striking characters and the vocal writing is not idiosyncratic to the voice. I have a mostly complete set of Opera magazine going back to 1950. Even in the 50s, attempts were made to revive some of them that failed.
I mentioned somewhere else here that there seems to be a split developing in classical music between works that draw a concert crowd and those that survive in profusion only on recordings. Vaughan Williams and Hovhaness fit the latter group as do the Haydn operas.
Right yes, the "socially distancing audiophiles" and the regular concert goers. The Harnoncourt performance certainly seems to have verve, though of course no surtitles so I don't quite know what's going on
Apropos of the concert goers -breaking news:the Met Opera has laid off all of its union employees, including its musicians and chorus. The Met is the US' largest performing arts organization. I knew this was coming. I am very afraid for classical music and opera.
A lot of the smaller organizations managed to honor their commitments for a month or two, but not the Met. I understand the soloists are also not to be paid. This is a tough time for just about everyone--except Amazon, it seems!
Why I am concerned about classical and opera concerts is the conflict between the age of their audience and the nature of pneumoniac pandemics. They differentially carry off the aged and sick. Even if and when corona exits stage left, there will be another cluster from a new bug somewhere. The media is now primed to get clicks and views with 24/7 alarums about each one. Under these circumstances is it unlikely that 20 or 30% of the audience just decides to avoid the crowded seating and stay home? Can they survive losing a quarter or a third of their current audience? I hope I am misreading the situation.
Well I hope you are misreading it as well! I am eager to get back to the concert hall as soon as this is winding down and I hope others are as well. I read one analysis of the progress of the disease on the Diamond Princess that seemed to show that the older demographic was not more susceptible.
The older demographic is more susceptible to death from pneumonia in general and these types of pandemics specifically. One need only check the ages of the deceased in this pandemic around the world. Infection rates though and mild illness are likely not age sensitive.
But I emphasize I wasn't talking about actual risk just the perception of risk since the classical audience skews heavily senior. I think the arts org would be wise to address this head on.
Sorry I didn't see your question. I would say off the top besides youtube (donation link), that larger groups might contract with local or national cable premium pay but with a very nominal fee. The Met was already doing movie theater showings. When the lockdown is relaxed they might have to go with spaced seating unless it's a family. Have better line management for entry, as much as possible things arranged in advance. Meals/snacks at eatery/stand prepackaged only. Staff with masks and gloves. Frequent disinfecting. Perhaps a separate section for particularly vulnerable seniors (over 75).
They will struggle even with this but at least they keep people's attention on them. Pop music doesn't have to worry since their customers will return immediately. Classical and jazz are more iffy.
Haydn's operas are pleasant with his usual excellence of orchestral writing. They don't appeal to a typical opera crowd because they lack drama, don't have striking characters and the vocal writing is not idiosyncratic to the voice. I have a mostly complete set of Opera magazine going back to 1950. Even in the 50s, attempts were made to revive some of them that failed.
ReplyDeleteI mentioned somewhere else here that there seems to be a split developing in classical music between works that draw a concert crowd and those that survive in profusion only on recordings. Vaughan Williams and Hovhaness fit the latter group as do the Haydn operas.
Right yes, the "socially distancing audiophiles" and the regular concert goers. The Harnoncourt performance certainly seems to have verve, though of course no surtitles so I don't quite know what's going on
ReplyDeleteApropos of the concert goers -breaking news:the Met Opera has laid off all of its union employees, including its musicians and chorus. The Met is the US' largest performing arts organization. I knew this was coming. I am very afraid for classical music and opera.
ReplyDeleteA lot of the smaller organizations managed to honor their commitments for a month or two, but not the Met. I understand the soloists are also not to be paid. This is a tough time for just about everyone--except Amazon, it seems!
ReplyDeleteWhy I am concerned about classical and opera concerts is the conflict between the age of their audience and the nature of pneumoniac pandemics. They differentially carry off the aged and sick. Even if and when corona exits stage left, there will be another cluster from a new bug somewhere. The media is now primed to get clicks and views with 24/7 alarums about each one. Under these circumstances is it unlikely that 20 or 30% of the audience just decides to avoid the crowded seating and stay home? Can they survive losing a quarter or a third of their current audience? I hope I am misreading the situation.
ReplyDeleteWell I hope you are misreading it as well! I am eager to get back to the concert hall as soon as this is winding down and I hope others are as well. I read one analysis of the progress of the disease on the Diamond Princess that seemed to show that the older demographic was not more susceptible.
ReplyDeleteThe older demographic is more susceptible to death from pneumonia in general and these types of pandemics specifically. One need only check the ages of the deceased in this pandemic around the world. Infection rates though and mild illness are likely not age sensitive.
ReplyDeleteBut I emphasize I wasn't talking about actual risk just the perception of risk since the classical audience skews heavily senior. I think the arts org would be wise to address this head on.
Yes, I agree. Apart from streaming live concerts without an audience, what do you think would be a good initiative?
ReplyDeleteSorry I didn't see your question. I would say off the top besides youtube (donation link), that larger groups might contract with local or national cable premium pay but with a very nominal fee. The Met was already doing movie theater showings. When the lockdown is relaxed they might have to go with spaced seating unless it's a family. Have better line management for entry, as much as possible things arranged in advance. Meals/snacks at eatery/stand prepackaged only. Staff with masks and gloves. Frequent disinfecting. Perhaps a separate section for particularly vulnerable seniors (over 75).
ReplyDeleteThey will struggle even with this but at least they keep people's attention on them. Pop music doesn't have to worry since their customers will return immediately. Classical and jazz are more iffy.
I think that a lot of this will become unnecessary once an effective vaccine is available.
ReplyDelete