It continues to amaze me how universal in its timeliness Russian literature can be, including this libretto. I try to emphasize to my music history students that these works of art are not museum pieces but are made contemporary as we are in conversation with them in our own time periods and through our own experiences. I think opera is uniquely suited to depicting the dualities you discuss because the orchestra also has a point of view. The orchestra tells the truth. When the characters are lying to others or themselves, I look to the orchestra. Someone singing about their current happiness but the music from the pit sounds like a curse? Yep, a curse is at work. Good luck with your project. I have not yet tackled libretto writing. Exciting and challenging work.
Yes! I love this, “The orchestra tells the truth.”
It’s the pre- (or super-?) verbal language of reality speaking to us even as we manipulate language to deceive ourselves. That’s the greatest ironic potential in opera, and it derives its force from its conviction that THERE IS A TRUE STORY to be told—but the words might not be telling it!
It continues to amaze me how universal in its timeliness Russian literature can be, including this libretto. I try to emphasize to my music history students that these works of art are not museum pieces but are made contemporary as we are in conversation with them in our own time periods and through our own experiences. I think opera is uniquely suited to depicting the dualities you discuss because the orchestra also has a point of view. The orchestra tells the truth. When the characters are lying to others or themselves, I look to the orchestra. Someone singing about their current happiness but the music from the pit sounds like a curse? Yep, a curse is at work. Good luck with your project. I have not yet tackled libretto writing. Exciting and challenging work.
Yes! I love this, “The orchestra tells the truth.”
It’s the pre- (or super-?) verbal language of reality speaking to us even as we manipulate language to deceive ourselves. That’s the greatest ironic potential in opera, and it derives its force from its conviction that THERE IS A TRUE STORY to be told—but the words might not be telling it!
absolutely
Would you ever consider Bluebeard’s Castle by Bartok?
Absolutely! That's a great idea.
How about Benjamin Britten’s “Peter Grimes”?