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A musical challenge to our view of the past

Music and the Exotic from the Renaissance to Mozart

In Musical Exoticism (Cambridge 2011) Ralph P. Locke undertook an extensive appraisal of the portrayal of the ‘Other’ in works dating from 1700 to the present day, an enquiry that embraced a wide range of genres from Baroque opera to Algerian rap, and which was at once musical, cultural, historical, political and ethical.

Coughing and Clapping: Investigating Audience Experience

Is it okay to tweet during a concert, if it allows those who couldn’t attend to engage with the performance and the music? Or is it really just distracting, on top of all the coughing?

How to Write About Music: The RILM Manual of Style

RILM Abstracts of Music Literature is an international database for musicological and ethnomusicological research, providing abstracts and indexing for users all over the world. As such, RILM’s style guide (How to Write About Music: The RILM Manual of Style) differs fairly significantly from those of more generalized style guides such as MLA or APA.

Book Review: Opera in the British Isles, 1875 – 1918

Opera in the British Isles might seem a rather sparse subject in the period 1875 to 1918. Notoriously described as the land without music, even the revival of the native tradition of composers did not include a strong vein of opera.

Diary of a Redneck Opera Zinger

Heldentenor Jay Hunter Morris tells us about the lean times when the phone did not ring, as well as those thrilling moments when companies entrusted him with the most important roles in opera.

Weill's Musical Theater: Stages of Reform

Commonly viewed as a ‘second-rate’ composer — a European radical persecuted by the Nazis whose trans-Atlantic emigration represented a sell-out to an inferior American popular culture —

Opera from Cambridge University Press

Although part of a series entitled Cambridge Introductions to Music, Robert Cannon’s wide-ranging, imaginative and thought-provoking survey of opera is certainly not a ‘beginners’ guide’.

James Melton: The Tenor of His Times

Those of us of a certain age have fond memories of James Melton, who entertained our parents starting in the 1930s and the rest of us in the 1940s and beyond on recordings, the radio, and films.

Essays on Italo Montemezzi - D'Annunzio: Nave

An important new book on Italo Montemezzi sheds light on his opera Nave. The author/editor is David Chandler whose books on Alfredo Catalani have done so much to restore interest in the genre.

Alfredo Catalani — A new perspective on later Italian opera

Assumptions about later Italian opera are dominated by Puccini, but Alfredo Catalani, born in the same town and almost at the same time, was highly regarded by their contemporaries. Two new books on Catalani could change our perceptions.

The Sopranos — Dissecting opera’s fervent fans

I was feeling cowed by Herr Engels. The four of us had retired from the Stravinsky performance to a Billy Wilder-themed bar in Berlin, the least horrible late-night option in the high end mediocrity of Potsdamer Platz.

Opera Remade, 1700-1750

This substantial book is one of the latest in the Ashgate series of collected essays in opera studies and draws together articles from a disparate group of scholarly journals and collected volumes, some recent, some now difficult to locate.

Operatic Advice and Counsel…A Welcome New Reference Book

Vincent Giroud’s valuable new French Opera, a Short History, is in hand and very welcome it is.

Lotfi Mansouri: An Operatic Journey

The noted operatic impresario and stage director, Lotfi Mansouri, with the professional help of writer Donald Arthur, has issued his memoirs under the title Lotfi Mansouri: An Operatic Journey.

Cosima Wagner — The Lady of Bayreuth

Originally published in German as Herrin des Hügels, das Leben der Cosima Wagner (Siedler, 2007), this new book by Oliver Hilmes is an engaging portrait of one of the most important women in music during the late nineteenth and early twentieth centuries.

Operatic Italian

Robert Stuart Thomson’s Italian language learning text, Operatic Italian, promises to become an invaluable textbook for aspiring operatic singers, voice teachers, coaches and conductors.

Musical Exoticism: Images and Reflections

Ralph Locke’s recent book on Musical Exoticism is both an historical survey of aspects of the exotic in Western musical culture and a discussion of paradigms of the exotic and their relevance for musicological understanding.

Magic Flutes & Enchanted Forests: The Supernatural in Eighteenth-Century Musical Theater

Readers may recognize the author of this book, David J. Buch, a specialist on the origins of the libretto to Mozart’s Magic Flute.

Opera from the Greek

Perhaps it will be enough to tell you that I wasn’t halfway through this book before I searched the web for a copy of Professor Ewans’s study of Wagner and Aeschylus’s Oresteia, and ordered it forthwith: It has to be good.



 Opera From the Greek — Studies in the Poetics of Appropriation
07 Sep 2008

Opera from the Greek

Perhaps it will be enough to tell you that I wasn’t halfway through this book before I searched the web for a copy of Professor Ewans’s study of Wagner and Aeschylus’s Oresteia, and ordered it forthwith: It has to be good.

Michael Ewans: Opera From the Greek — Studies in the Poetics of Appropriation

Ashgate Press; 226 pages; 2007

ISBN: 978-0-7546-6099-6

$99.95  Click to buy

The other things he made me eager, even desperate, to find were recordings of Enesco’s Oedipe (yes, one exists!) and of Cherubini’s Médée (as opposed to the Italian revision — I’ve got that with Callas of course), for whose position among the supreme music-dramas Ewans makes a most convincing argument. My great regret is the number of masterpieces derived from classical drama that he does not deal with — such as Berlioz’s Les Troyens, or Handel’s Hercules, or Gluck’s Alceste, or Stravinsky’s Oedipus Rex (which Ewans considers and coldly dismisses), or Gnecchi’s Cassandra, or Chabrier’s Briséis, or Taneyev’s Oresteia, or Xenakis’s, or the Latouche-Moross musical The Golden Apple (a spoof of Homer).

Besides the Enesco and Cherubini operas mentioned above, the works he does analyze in detail, from Greek epic or dramatic source through stage tradition to libretto to composed opera, are Monteverdi’s Il ritorno di Ulisse, Gluck’s Iphigénie en Tauride, Strauss’s Elektra, Tippett’s King Priam, Henze’s Bassariden, and Turnage’s Greek.

Ewans’s take on these operas and their literary “lineage” is enlightening, in the literal sense of throwing light where obscurity reigns, and his two passions are classical drama (mostly Greek, but also Roman) and its position in classical society, and the operas derived from classical drama and the lessons opera’s creators (librettists as well as composers) have tried to convey. His field of study as a professor of classics has included both epics and plays (his translations of many Greek tragedies are standard), but here he discusses the context in which these works were produced, the intentions of the authors, the themes under discussion: the nature of the gods, the degree to which they interfere in human destiny, the rivalry of revenge and justice in the structure of society, the position of women in men’s worlds. This exploration produces a unique take on the interpretation consciously (or unconsciously) imposed on each text two thousand years later by the librettist and composer who transformed it into an opera — and these matters are seldom discussed in such depth when the operas in question are examined, much less when they are staged.

It is a truism that any myth worth its salt can and will be made use of in different ways, with often widely divergent meanings, by different cultures that fall heir to it. Consider, just by way of example, the interpretations of the apple tree myth from Genesis in Hebrew tradition, in Augustine’s invention of a theology for Satan, on Michelangelo’s ceiling, in Bock and Harnick’s musical The Apple Tree (derived from a Mark Twain satire).

Ewans, less satirically, compares Homer’s wily Odysseus to the Ulisse Monteverdi’s librettist, Badoaro, presented to a Christian audience: his obedience to the gods more formal, more unquestioning, more conscious of “sin” (not a concept in Homer’s Greek); his Penelope more aware of herself as a sensual being capable of imagining more choices for herself. Then there is Medea, as Euripides presented her: a woman trying to live by the standards of heroic male society (adopting the blow-for-blow ethics called for from males rather than females), channeled through Seneca’s Roman play in which she became a malevolent demigoddess, passing through Corneille and other writers who capitalized on the witchcraft aspect, to Cherubini and his librettist, Hoffman, who, wishing to return her to her original human predicament, created a far more genuinely tragic figure than the wicked witch she had by then become for most audiences.

Another revelation — or at least a hell of a good argument — comes in Ewans’s chapter on Strauss’s Elektra, a musico-dramatic synopsis of the opera, with notes about the orchestration and the arrangement of the leitmotifs to underline the drama — but he also takes a few pages to explain Sophocles’s political motives in presenting the story the way he did (in contrast to the very different treatments we possess by Aeschylus and Euripides), and the way brand new Freudian theory helped transform Sophocles’s play into Hofmannsthal’s, all as background to the achievement of Strauss. One does not understand one work of art — one understands three, with a glance at still others. We do not delve into one era of opera-creating history and the concerns of its audience and its geniuses, we are guided through several. One of Ewans’s themes, here and elsewhere, is how composers and librettists at honestly opposed purposes can underline or undermine each other’s “take” on the story.

In the section on Tippett’s Priam, we are given background notes to understanding the mastery (and occasional failures) of a highly intellectual not very popular British composer who wrote in “Jungian” style, then gave it up to create a more immediate “epic” drama here. In the section on Henze’s Bassariden, we are given not merely an account of Euripides’ most mystifying play, Bacchae, and the aspects of it about which commentators still do not agree, then how those themes mutated through the Christian outlook of Auden and Kallman to create the libretto, then how those themes were challenged, expanded or contraried by the communist outlook of the composer — illustrated from the argumentative correspondence between composer and librettists, as well as the work of published commentators on Henze’s oeuvre.

Opera from the Greek is a pithy (200-page) tour of music-drama. The number of ideas introduced in this brief book, and the degree to which Ewans explores so many so deeply will startle and excite anyone interested in opera, even operas quite different from those discussed here.

John Yohalem


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