Commentary
Why
Doesn't Anyone Like American Opera?
By Robert
Wilder Blue
As we began to tell friends and
others about our new online magazine devoted to American opera, we got a wide
range of responses, from "Great idea!" to "American opera?
Why would you want to write about that?" and including "Oh, you
mean like Phantom of the Opera?" Well, not exactly. It's not that we
have anything against 19th century Italian or German opera (or American musical
theater, for that matter). We love all opera -- well, most opera, anyway.
But, the world didn't seem to need another Web site extolling the virtues
of Maria Callas (is there anything left to say on that subject?). We felt
that a Web site devoted to American opera might be of some benefit to the
opera world.
We admit to not always loving American opera. And, without naming any names,
there are a few we have seen we wouldn't care to sit through again (although,
the same could be said for Massanet's Herodiade). But one event converted
us: a 1994 radio broadcast of Carlisle Floyd's Susannah from Lyric
Opera of Chicago. That performance, the heartbreaking beauty of Renée
Fleming's Susannah, the power and anguish of Samuel Ramey's Reverend Olin
Blitch, and the ravishing score and moving libretto by Carlisle
Floyd, changed forever our feelings about American opera.
Anyone who has been around opera much knows that "modern" opera
is usually hated, sometimes tolerated, seldom loved. It's not hard to sell
the classics, those 100 or so operas, primarily Italian, that were written
between 1786 (The Marriage of Figaro) and 1893 (Falstaff), plus
almost anything by Puccini and some Strauss (both predominantly 20th century
composers). But put Alban Berg's Lulu on the bill and you'll end up
handing out free tickets at the local music conservatory. And don't let's
even mention The Death of Klinghoffer (by American composer John Adams).
Talk about box office poison!
How did this happen? Shouldn't American opera companies present American works
every season? Why doesn't anyone like American opera? These are not questions
for which there are quick or easy answers. One imagines that there is a lot
of blame to be assigned; however, we'd rather not get involved in all that.
(If anyone is interested in investigating this crime, we would welcome the
submission of a list of culprits and then we will really stick it to them.)
We're here to promote opera by American composers and, in the process, we
hope to help educate the opera community and to foster a greater appreciation
for American opera.
A look at the repertories of opera companies in Russia, Czechoslovakia, and
Finland (countries with opera traditions roughly similar to that of the United
States) and of course Italy, Germany, and France, reveals that a large number
of native works are performed regularly in those countries. Yet, our own informal
survey (an unofficial tally taken from the September Opera
News magazine) shows that, of the more than 1,000 performances given by
68 U.S. companies during the 2000-2001 season, only 92 will be performances
of American operas. The majority of companies, including America's largest
company, the Metropolitan
Opera, will not present an American work during the current season. There
will be any number of performances of Aïda and Tosca, though,
and they will probably sell out, regardless of the quality of the singing,
conducting and production.
There is some good news though! During the past decade, enthusiasm for American
operas both new and old has grown, if slowly. Regardless of what the critics
are saying (usually something negative), audiences are embracing American
operas and opera companies are selling tickets. During the 1998-99 season,
the Metropolitan Opera and the New York
City Opera sold out their respective productions of Susannah and
Of Mice and Men. Several recent new works presented in Chicago, Houston,
New York and San Francisco (A View From the Bridge, Little Women,
Cold Sassy Tree, The Great Gatsby,
A Streetcar Named Desire, Dead Man Walking) have been huge audience
hits. That the operas were sung in English and were based on familiar stories
was apparently attractive to operagoers, especially younger ones. They have
generated excitement for opera in general ("something new!") and
it didn't seem to be terribly important that critics were not enthusiastic
about some of them.
When we decided to embark on this venture, there was really only one choice
of subject for our first issue and that was Carlisle
Floyd. Floyd is one of the most successful composers since Puccini, and
he is, of course, American. His operas have been presented regularly in the
United States over nearly half a century. Before committing himself to music
composition, Floyd was a painter and a writer. Throughout his career, he has
been a consummate man of the theater; he writes his own librettos and often
acts as his own stage director. His operas are successful because he understands
the theatre and has a keen sense of what works - musically and dramatically.
Floyd's 1953 opera, Susannah, is regarded as a 20th century masterpiece
and has taken a place in the standard repertory. Of Mice and Men (1969),
from the Steinbeck novel, is performed widely; Willie Stark (1972),
based on Robert Penn Warren's novel, All the King's Men, and The
Passion of Jonathan Wade (1962, revised 1989), a grand opera about the
U.S. Civil War, are on the brink of wider recognition. Floyd's tenth opera,
Cold Sassy Tree, based on Olive Ann Burns'
1984 novel, was premiered in Houston last April to enormous acclaim. It was
the result of a five-part commission between Houston
Grand Opera, Austin Lyric Opera,
San Diego Opera (where it will be presented
March 24 - April 1), Baltimore Opera
and Opera Carolina.
Cold Sassy Tree is Floyd's first major comic opera and, as with most
of his previous operas, it takes place in the South. USOperaWeb
was able to talk to all of the principal artists
involved in the world premiere. In addition to the interview with Carlisle
Floyd, we are pleased to offer conversations with conductor Patrick
Summers, director Bruce Beresford, and principal
singers, Dean Peterson, Patricia
Racette and John McVeigh (who will repeat
their performances in San Diego).
Over the next few issues, we will examine the work of Mark Adamo, Jake Heggie,
Lee Hoiby, Lowell Leibermann, and Conrad Susa, to name a few, and we will
continue our exploration of the work of Carlisle Floyd.
We will also feature from time-to-time new works by lesser-known composers.
Our primary goal is to talk to the artists involved in creating the operas
and it is these conversations that will make up most of our content. We have
no plans to include criticism; that is a well-traveled road that doesn't need
any more traffic from us. The magazine is free-of-charge, so eventually, you
will see advertising. It will be as unobtrusive as possible and it will never
be inappropriate to our mission.
Let us know what you think! We welcome comments,
ideas and submissions, and especially need help keeping our calendar
and our links comprehensive. And please sign up
for our mailing list so you can receive prompt
notification of USOperaWeb updates.
