Opera began with a fascination for Greek myths and Vic Opera continued this tradition in its opening double bill. What does the myth offer the art form? Here's some notes from our discussion of centuries of earlier operatic portrayals of gods and mortals - and comparisons with the new Australian offerings.
Operas from Greco-Roman myths abound - check out the Wikipedia list! We're exploring the modern myth=telling of the Vic Opera double bill by dipping in to the tradition of Greek myths in opera. For those who were not with us long long ago, and those who don't have any recall of our 2017 sessions(!!) when we spent a term on Greek myths in opera, here's the link. Lots to think about there.
And here's a fascinating lecture about modern opera's myth-telling. Have we been watching examples of 'modernizing classicism'? 'Motivated not by a sense of wanting to flee from the present day world, this modernizing classicism somewhat paradoxically evokes the ancient past specifically for purposes of modernizing an art form.'
Here are links to extracts we played for consideration.
The Orpheus myth. Begin the Baroque
The myth is spelt out by Monteverdi, in 1640, and modern productions spell it out in modern mode.
Here's the brilliant baritone Simon Keenlyside in Monteverdi's L'Orfeo, 1998. Act V: 'Questi i campi di Tracia' . The full opera of this wonderful production is in segments on YouTube. Here's Act 1. Rene Jacobs conducts and Trisha Brown is choreographer - Theatre Royal de La Monnaie, May 21, 1998
And a century later.... it's classical Gluck Orfeo ed Eurydice.1762. Unknown (movie?) Orpheus meets the demons Moving on to Romantic:
Offenbach, Orphee aux Enfers 1858. BBC movie 1983.Offenbach makes the portrayal of the head of the gods in Cassandra seem quite respectable. Go to 59.00 for the classic "Down with Jupiter" scene as the gods protest the boredom of nectar and ambrosia.
The Troy stories
La Belle Helene Offenbach's "La Belle Hélène", given at Paris Théâtre du Châtelet in 2001. Hélène of Troy is sung by Felicity Lott, Yann Beuron is Pâris, Michel Sénéchal is Ménélas, Here's the splendid ending as Paris abducts Helen to cheers from the foolish god-mob on the beach.
Jupiter as modern (immoral) man - what does the myth offer the opera's messages?
Back to Baroque, Handel portrayed the top god as brutal and deceitful in Semele 1743, along the way, giving him in Act 11 the most famous aria, 'Where'er you walk'. The promise of perfect scenery is a move in abduction - and a step to destruction for the mortal woman. It is sung here by Jupiter (John Mark Ainsley) to Semele (Rosemary Joshua). From the 1997 Semele from the English National Opera (ENO), conducted by Harry Bicket.
Earlier this year, OperaVision screened Semele from Comic Opera Berlin, in a production by Barrie Kosky that stressed the violence and betrayal - check out the trailer here. Jupiter at his most murderous is played by Allan Clayton.
And into the 20th century - a return to the Troy stories. Richard Strauss' brilliant portrayal of Elektra was first performed 1909. Rather than retell the Trojan war tales, it focuses as did Sophocles' tragedy, on the destruction of everyone around Agamemnon and Elektra's lust for revenge. How to present this modernist drama - with Freudian messages - and who can sing that role?
The most renowned Elektra in recent years was Hildegard Behrens, who sang the role in a very simple Met production in 1994. Here's her call to her dead father: 'Agamemnon!' And from the same production, her extraordinary, subtle portrayal of Elektra's response when she realises her brother lives and has returned. 'Orest!' (Orestes is Donald McIntyre). Thus to the 21st century, and Nina Stemme has owned the role recently - here's the trailer for her bloodsoaked 2019 Lyric Opera performance.
And at the Met, in 2016, in a drier production, here's the confrontation scene with her family. That Met production starred Christine Goerke i 2018 - here's her cry to her dead father: 'Vater Agamemnon' .
Lyn, 21 May 2021