This is Insane
According to the NY Times for Tuesday, July 31, Katharina Wagner’s new production of Die Meistersinger for the Bayreuth Festival featured topless dancers, complete male nudity, plastic phalluses, and “a bizzare auto da-fe” In the third act. My wife related to me a production (this one?) that had Hans Sachs made up as Hitler. One doesn’t have to have seen the particular production to comment. We’ve all seen eurotrash productions.
For years I’ve vacillated back and forth about the validity of such productions. I’ve been reluctant to condemn this sort of thing outright out of cowardice (just like many, many critics), a reluctance to appear to be a close-minded reactionary. But enough is enough. Opera (unless you specifically set out to make a film, such as H.J. Syberberg’s Parsifal) is not a director’s medium. There is a huge dissonance between 1860s music and 2007 post deconstructionist neurotic infantilism. You don’t have to bring the bearskins, metal brassieres and horned helmets back, but Hans Sachs needs to be a grounded, humane figure, Wotan better be missing an eye (this has deep plot relevance) and Sigmund better pull a weapon from the tree, even if it needs must be a submachine gun rather than a sword.
Some operas may potentially benefit from deconstructionst treatment, and some you should leave strictly alone. Here’s a partial list. Feel free to add to it.
Works that may potentially benefit from radical directors:
1. Die Zauberflote
2. Cosi fan Tutte
3. Tristan und Isolde
4. Parsifal
5. Lulu
6. Any of the Orfeo operas; any opera seria (this stuff is so dramatically inert that any dramatic reconsideration is an improvement)
Works to be left strictly alone:
1. La Traviata
2. Die Meistersinger
3. Tosca
4. Peter Grimes
5. Der Rosenkavalier
6-7 Eugene Onegin and The Queen of Spades
When in doubt, leave it alone. Mozart, Verdi and Wagner knew more than you do. And think long and hard about putting sex and violence in…We’ve had too much of that already. In “City Journal” Heather McDonald has an excellent article on the topic. I know nothing of Ms. McDonald, except that my wife finds her politics unsavory, but the article is indeed an excellent one.
John Gibbons
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Reader Comments (33)
The trend is indeed INSANE particularly after attending a “straight” performance of The Abduction from the Seraglio ~5 years ago at Berlin’s Komische Oper. I’m afraid it will continue until music lovers protest by not attending. John discussed this trend in his recent Wagner class but I did not know it had gone to such extremes. (Leading conductors like Barenboim are partially to blame per this story told by CSO principal horn Dale Clevenger: Several years ago he and his wife, also a horn player, were asked by Barenboim to play two of the off-stage horn parts in a German city’s production of Tannhäuser. While standing in the wings they were within a few feet of 5 male and 5 female dancers performing behind a scrim and clad only in silver body paint from head to toe. I can only image how hard it must have been to keep one’s eyes on the music!) The one upside to all of this is perhaps a Wagner festival in Las Vegas?!?!?
Richard, you're too late to invent a Vegas Ring Cycle! Check out the Barenboim Ring Cycle, directed by Harry Kupfer in the early 90s. (link on the left sidebar) Wotan's costume was described by at least one critic as a Vegas pimp outfit. The set was essentially a highway (cue the metaphors). The immolation scene consisted of different groups of people, watching TVs. Well, at least Kupfer thought up an immolation scene, unlike the folks at Stuttgart, who simply scrolled Wagner's stage directions on a black screen, clearly in homage to "Star Wars."
One of my best ideas once again foiled so thanks, Bonnie, for keeping me on the straight and narrow. Rats!!
Thanks for the reference to the Heather MacDonald article- it is excellent. I've never heard of her or this journal before.
Glad to help. By the way, I just bought the Colin Davis LSO Sibelius 6th and 7th. Haven't heard it yet. I assume you know it, David. I vaguely remember it being mentioned in the Northern Symphonies class.
I have all of the Davis/Boston Sibelius symphonies, and have heard some of his LSO Sibelius. There are two LSO Sibelius cycles: one on RCA from the late 1990's and one still in progress on LSO Live. Based on what I've heard so far, I prefer Boston.
Thank you, David, for responding. I should have checked with you earlier. I have the newest, from the Barbicon, 5 and 6. Everything seems right, but something is missing, and the 5th is strangely lifeless, although the tempos seem admirably judged.
I just heard this cd. I feel obliged to like the intelligent and meditative rendition of the sixth, but I prefer Boston, as well. But that's a really, really great recording, and I thought that the newy might offer something fresh and valuable.
By the way, I picked up a copy of Taverner's "The Protecting Veil" and loved the first few minutes, but lost interest in the last 40 minutes, which seemed to be the same as the first couple minutes. His style reminds me of Gorecki, but not informed by Gorecki's understanding of "Do the cooking,or get out of the kitchen." ...the piece seemed interminable. Feel free to comment or blog on this repertory: I seem to have a blind spot in this regard.
I misspoke, obviously; the cd contains 5 and 6, not 6 and 7.
I am in total agreement with everything you say (!) The Davis/LSO 5th to which you refer was exactly the performance which I find quite disappointing compared to his Boston Symphony version.
I bought The Protecting Veil when it first came out on CD and have listened to it intermittently over the ensuing almost 20 years. The first six or so minutes are beautiful, as are the final few minutes - since they recap the opening. However, the 30-35 minutes in between don't seem to have a lot to say in a developmental sense; maybe I should listen with greater attention, or maybe there really isn't a lot there.
I also find Gorecki much more involving, possibly because he is not trying to be as "holy' as is Tavener.
Dear Mr. Gibbons - I appreciate very much what I sense to be a fairmindedness in your blog on this subject. In hopes that this is indeed the case I ask if you might reconsider the strength of your statement.
One cannot in all fairness state unequivically that opera is not a director's medium. That simply is not inherently true about the art form. Opera cannot be put in a box so easily. In Monteverdi's time opera was a designer's medium, in Handel's time opera was a singer's medium, in Lully's time opera was a dancer's medium, in Cavalli's time opera was a poet's medium, and in Wagner's time opera was a composer's medium. Right now opera is concept, and I think this distinction is more correct than director, driven.
There are indeed alot of shock operas out there that fall short on substance upon closer examination. First of all it isn't enlightened for us to keep using this mean spirited and frankly common term "eurotrash". It isn't as if American doesn't have a huge role in the world of concept opera (lets remember Peter Sellars and David and Christopher Alden). I think people like Ms. Mac Donald throw the baby out with the bath water. To rail against regietheater is to discredit beautiful work by directors like Robert Carson, David McVicars, Robert Wilson, and others. The do not contain gratuity - no sex, or violence, or nudity (not that any of those three aren't at appropriate times important tools), but they are still VERY much concept driven pieces, and yes largely driven by the director.
It would be more intelligent for those involved in this debate to have a more acute argument against gratuitous opera productions without substance, not against opera that is about an overall experience and not simply the singer or the composer or the text. Traditional productions, while using the tool of bordom and not shock, can be just as terrible. Many of these concept driven productions drive audiences mad and fill the seats of once empty houses. That is a good thing - these works move people more than many traditional productions. Bottomline is that a bad production is a bad production and a good production is a good production, regardless of whether they are concept based or uber-traditional. That is beside the point.
God forbid we should return to the days of Otto Schenk's Ring where singers make beautiful noise and look ridiculous in over inflated costumes and acting that is over-the-top and lacks substance. That is just as bad as the Walkerie riding in on office desks (at least if you don't like it you can laugh at it).
Thank you, Mr. Nelson, for your eloquent and spirited comments. Having re-read my original entry, I probably would be gentler. But it's a blog you know, and I want to stir up responses. Also, it is unfortunately not always possible to treat quick entries as are appropriate for blogs with the sort of reflection and scholarly accuracy one would like ideally.
Your criticism of the term "eurotrash", is well taken; it is indeed an automatic pejorative. Your comments about designer's operas, singer's operas, etc., is very, very interesting. While definitely seeing your point, and while appreciating your sense of historical perspective, I cling to the notion that every opera is a "composer's opera", one of many possible approaches. Do you know of any operas, by the way, that have succeeded in the permanent repertory with a great libretto, but mediocre music, or wonderful design, but mediocre music, or brilliant concept, but mediocre music? I confess that I do not. I love, love Robert Carsen, by the way. His "Orfeo"and "Dialogues of the Carmelites" are among my treasured experiences in the opera house. Please feel free to comment on my response,or any other article, and I hope to continue to hear from you!
I was considering a response to Mr. Nelson's post when John's excellent reply above was posted. The key point to me is the idea that ALL operas are composer's operas, and John's enquiry about the presence of any operas in the standard repertoire which maintain themselves on the strengths of staging, or librettos, or concept. I can't think of any! I agree that all operas are composers' operas.
I do want to mention two of the three best opera performances that I've attended (and I've been going to opera for 40 years now). The most perfect realization of a performance in those 40 years was Philip Glass' Einstein on the Beach, both at BAM in 1984 and in Paris in 1992. Four and half hours without a single break, and including extensive dance, violin solos, chorus, and the musicians of the Philip Glass Ensemble. It was flawlessly executed in every aspect of the performance. The stage director :Robert Wilson. Glass and Wilson worked together to produce a concept that was unified and a true Gesamtkunstwerk (in the Wagnerian sense).
The second was Nixon in China at the English National Opera in London in the Peter Sellars production. Sellars, Alice Goodman (librettist) and the composer John Adams worked together to create a unified concept resulting in a masterpiece, whose MUSIC will last forever. I also saw Nixon at Chicago Opera Theater and enjoyed it a lot, but the production was not quite as good as Sellars'. Nevertheless, the quality of the music made it a good, though not great, experience.
Now to drop the third shoe, my final truly great operatic performance was the complete Wagner Ring cycle at the MET in 1990, conducted by James Levine and directed by Otto Schenk. Levine, Schenck, and the written desires of Richard Wagner (in the score) worked together to create a unified Gesamtkunst (in the literal Wagnerian sense). The singers weren't uniformly great (Hildegard Behrens had withdrawn after having narrowly escaped serious injury in the literal collapse of the Gibichung palace the week before), but it didn't matter because we had Wagner and a great conductor and a great orchestra.
My conclusion? Operatic greatness resides in the music, not in the stage directors.
I'm not persuaded that Mac Donald's political biases necessarily invalidate her article, which may put me on the other side of Mr. Nelson; but if Mac Donald is against govt. subsidies, I obviously disagree with her, as I made very clear in more than one of my posts. And furthermore, I believe in directorial independence, and do not regard myself as a conservative in the sense of wanting the same tired old stuff; and I would never brand David, or others who applaud Mac Donald's article a conservative in this sense, either.
I admit it's unhelpful to throw around terms like Eurotrash, etc., and I've already apologized, but operatic conservatives are not necessarily neo-cons either, even if Ms. Mac Donald is one, according to Mr. Nelson. And maybe it's so, I haven't looked into this issue.
If opera is director or concept opera, shouldn't it be new works, collaborations with new composers that comprise this art?
But Mac Donald is not explicit about her aversion to subsidies in her article, although it is hinted at; thus, my "reservations". When it comes to funding, I'm sure my position is sympathetic to American Opera Theatre.
Probably I would disagree with Mac Donald, possibly vehemently, in the political sphere, presuming Mr. Nelson's account of her bona fides is accurate. She may not be a professional musician, but her article did exhibit very sound appreciation of music.
I do believe that a director's first and overriding obligation is to the composer, and if a director believes he is serving the composer...I wouldn't want to restrain him by the force of funding, or politics, or whatever. I am able to wholly applaud a director's political convictions while loathing his production, or vice versa.
This is a wonderful discussion! Hearing Robert Carson, Robert Wilson, and Peter Sellars all praised to some degree here is exactly my point. All of those directors are the inspriation behind their productions. Ms Mac Donald, and others, maintain that director led opera production is a bad thing and disrespects the composer's intention, but that is not true. What disrepescts a great composer is "bad" (I use the term with some objection to its inherent subjectivity) production. Many of the productions sited in her article (though not all - I personally love the Sellar's Da Ponte trilogy) are indeed questionable, but there are lots of traditional operas that are ill-conceived as well. Inspired production can come in many forms.
It is dangerous to suggest that rather than adapt an existing piece of intellectual property, a director that sees his art not as curation but as a creative organic act, should only work with entirely new works. Why is it alright for Monteverdi to adapt Homor? Why is it alright for Strauss to adapt Wilde? Why is it alright for Mozart to adapt Beaumarchais? See where I'm going? So much of the rep is in and of itself adaptation. I don't believe that opera should be free of outside interpretation, but literature should be freely taken for movies or operas or what not. That only works if the director is considered an interpretive and not a creative artist. That is what is changing, and to a certain extent it is a beautiful thing (and of course bad directors are going to bad directors regardless). And why not? Performers have been creative to a greater extent then some of us my want to admit. Any pianist that would dare to play Bach is making a creative decision clearly not in line with what Bach had in mind.
Which brings up one other point. It is a sort of illogical disucssion to talk about composer's intention, particularly when it comes to opera production. No one can possibly predict what a composer would want had he lived through the 20th century and was aquainted with post-modern ideas and technologies. No, that is a difficult argument to actually make stick.
There are lots of operas I think the music is pretty week for, but I'm sure others would disagree. I will say that, as a scholar of early Italian opera, it is interesting that we can never know whether Monteverdi actually wrote Poppea (which he probably did not). The major reason for this is that his role in the opera wasn't even considered important enough to include in the published libretti, programs, on the score, or in the papers of the time. Opera is not a composers genre. Opera I think is a genre that is fantastic because it isn't about music, or text, or dance, and any of this. It is about all of it. The great thing about opera is that the sum is so much greater than the parts.
Cheers! (It is late and I haven't spell checked...please forgive)
P.S. I just went into staging rehearsals today for a staged Messiah...I'm scared to hear what some might think of that :)
Again, thank you for your contribution. I can agree with some of what you say, and I have nothing against updated settings, for instance, and in fact there have been times in my teaching career where I was concerned that my students didn't have an open enough mind when it came to new directorial ideas. I froth at the mouth if a composer's obvious intentions are thwarted, however...not an uncommon attitude among musicians. I've recently read passages from such diverse personalities as Erich Leinsdorf, George Perle, Robert Donington, James Levine and Dietrich Fisher-Dieskau lamenting the phenomenon we're discussing. I have no doubt that eminent theatrical personalities can be touted on the other side; Jonathan Miller, for instance. But it doesn't matter! There are no "appeals to Authority" admitted here! It's our right to decide for ourselves!
While I do concede that "adaptation" is legitimate, it seems to me that cross-genre adaptation is one thing, and "adapting" a work within its original genre, and presenting the "adaptation" as the work itself, is another. By the way, I personally think that the piano (in the context of Bach's music) is just a much, much better harpsichord, or clavichord, or whatever. Bach was notoriously cavalier about what instrument his keyboard works were played on. Oh, my! In some quarters, this will cause the fur to fly! Because I've made the same mistake, I think I learned that Robert Carsen spells his name with an "e". However you spell it, a splendid director! Thanks again.
Actaully, we know for a fact that Bach did have the opportunity to try the piano-forte and vastly prefered the harpsichord. He was not at all the "absolute music" composer as has been suggested. A good look at his keyboard writing clearly shows a difference in his approach to organ and to harpsichord. That leads me to conclude that had he actually written for the modern piano he would have written the pieces differently. The harpsichord is not AT ALL a lower form of the piano. You can't compare the two, its like saying the recorder is a lower form of the flute.The harpsichord is vastly more subtle and reqires listners with more fien tuned ears whiles the piano is capable of vast contrasts and powerful changes in character (incidently not at all what Baroque music is about). No, they are different instruments with different modes of expression and any keyboardist who plays both knows each requires a different performance practice. Playing a piece on the piano that was intended for the harpsichord requires an interpretation of the piece that the composer did not intend.
This doesn't bother me, because I realize that not only is there no obligation to the composer's "intentions", but the notion is actually ludicrous. We cannot possibly know what a composer would or would not approve. That those who think they have perogative to say Bach would have used the piano had he lived today can't also allow for the possibility the Wagner would have appreciated forward looking stage direction shows a clear disparity in reasoning.
Because it becomes a pissing contest to start imagining what a composer would or would not like, we ultimately have to be true to ourselves. If a director takes a composition and makes a piece the treats the text with irony, paradox, or even throws out the narrative together, an in that makes a production which moves audiences than he has fulfilled his only obligation - the only obligation an artist ever has. If he creates nonsense just to shock an audience, than shame on him. If a traditional director moves an audience with a curatorial approach, good. If he puts the audience to sleep his crime is just as bad.
Good, i am attracted by you words,thanks!You make some good points. I like your post,thank you for taking the time to post this.
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This doesn't bother me, because I realize that not only is there no obligation to the composer's "intentions", but the notion is actually ludicrous. We cannot possibly know what a composer would or would not approve. That those who think they have perogative to say Bach would have used the piano had he lived today can't also allow for the possibility the Wagner would have appreciated forward looking stage direction shows a clear disparity in reasoning.
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The set was essentially a highway (cue the metaphors). The immolation scene consisted of different groups of people, watching TVs. Well, at least Kupfer thought up an immolation scene, unlike the folks at Stuttgart, who simply scrolled Wagner's stage directions on a black screen, clearly in homage to "Star Wars."
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This doesn't bother me, because I realize that not only is there no obligation to the composer's "intentions", but the notion is actually ludicrous.
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