Rupert Christiansen on the need for opera to rediscover the virtues of simplicity for the sake of its audiences.
Through the many letters I receive from readers complaining about the excesses and aberrations of modern opera production, one cry repeatedly rings out: “Why don’t they stick to the composer’s intentions?”
Much as I sympathise, it won’t do. Think about it for a moment: in 99 per cent of cases we haven’t the faintest idea what the composer’s - or the librettist’s - intentions were, let alone what they would be if they were alive today.
I think what people mean is “I wish they would be faithful to the stated stage directions”, but this doesn’t get us much further: more often than not, these are left very imprecise, even as to historical period. And you could argue that to be truly authentic and genuinely faithful, productions should observe the original levels of lighting, never sing in translation and never make any cut except one authorised by the creators.
That sort of adherence to the letter kills. Literalism is the death of good theatre and can only lead to the sort of barnacled tradition associated with the old D’Oyly Carte. Realistic reconstruction runs as many risks as any other approach: baggy tights, silly wigs and wobbling backcloths can ruin great drama sooner than you can say Spamalot.
Through the many letters I receive from readers complaining about the excesses and aberrations of modern opera production, one cry repeatedly rings out: “Why don’t they stick to the composer’s intentions?”
Much as I sympathise, it won’t do. Think about it for a moment: in 99 per cent of cases we haven’t the faintest idea what the composer’s - or the librettist’s - intentions were, let alone what they would be if they were alive today.
I think what people mean is “I wish they would be faithful to the stated stage directions”, but this doesn’t get us much further: more often than not, these are left very imprecise, even as to historical period. And you could argue that to be truly authentic and genuinely faithful, productions should observe the original levels of lighting, never sing in translation and never make any cut except one authorised by the creators.
That sort of adherence to the letter kills. Literalism is the death of good theatre and can only lead to the sort of barnacled tradition associated with the old D’Oyly Carte. Realistic reconstruction runs as many risks as any other approach: baggy tights, silly wigs and wobbling backcloths can ruin great drama sooner than you can say Spamalot.