Project Process

I must admit, over spring break I geeked out and wrote ninety percent of my paper and finished ninety percent of my project. In my defense though, to geeking out that is, I had access to the main tool that I needed to complete my project; a sewing machine. Since the creative portion of my project is a quilt, I kind of needed to utilize the short amount of time I had with my sewing machine. I will be going home this Thursday for Easter and I plan on finishing my quilt between Friday and Saturday. The only thing I have left to complete is cutting out and pasting/sewing on silhouettes of the Puritans and Mohawks. The only problem is that I haven’t found an outline of these cultural stereotypes that would translate well onto fabric.

Through this whole process I’ve discovered that hardest part in making my project was the actual designing of the quilt. As I started delving into my opera more, there was so much that could be talked about or represented in a creative way. I think I spent the majority of my time with a box of colored pencils and computer paper figuring out what to do. Finally, after a trash can full of colorful attempts I knew what my game plan was! Trying to illustrate an opera through fabric art is a bit of a challenge, more that I expected. I’m not a seamstress, by any means, so I had to keep in mind what I could within my limits. Yet, the goal of my quilt is for someone to look at it and understand what is going on in the opera and also identify the differences but see how they are “sewn” together. Either way, this project has forced me, in a good way, to dig deeper and be more creative.

Paper Progress

Where to begin… Well, the initial goal of my paper was to look at Paula Kimper’s opera, The Captivation of Eunice Williams, and discuss how homosexuality has impacted her compositions as well as other musicians of the past. I was well aware that the topic of sexuality and music is an extensive topic to delve into; I just didn’t realize how extensive. I have finished my paper, and have handed it in for a review, but I feel like I have opened a can of worms and the worms are escaping from me!

One of my main problems is trying to limit what aspect of sexuality in music I want to discuss. Two of my resources, The Queen’s Throat, and Queering the Pitch, have presented me with some great, enlightening information, but now I don’t know what to talk about anymore. Initially I wanted to discuss how Kimper’s opera is about acceptance and being able to live in accordance with one another even though we are different. Because of this, I was going to compare the issues in the opera to issues of today regarding sexuality, which directly affect her. Additionally, I wanted to discuss how homosexual composers and musicians of the past have paved the way for Kimper to be able to compose so freely and that sexuality is represented in her music very different from that of Britten, Bernstein, and etc… Well, as I started reading I came across some differnt material that discussed the voice as an androgynous entity. What to do?! This is rather interesting because now opera could be viewed very differently, especially when you think about it form a compositional aspect.

Lastly, I began to stress about my paper because there was so much to talk about and not enough time! So now I’m wondering if I should completely revise my paper and discuss my project in great detail. I just don’t know!!!

A View From The Bridge

My feelings about William Bolcom’s, A View From The Bridge, are rather ambivalent. Part of me thought the story was twisted and enticing, but NOT as an opera. Would I go out and read the book? Maybe, but I wouldn’t go out and buy a CD of the opera. Class, this semester, has been interesting because a lot of the 20^th Century operas we have looked at don’t fit the “classical” operatic story that you get from Mozart, Puccini, Rossini etc… Twentieth century composers have had to become more creative regarding the story line; how they write the music and the staging, which could be partially attributed to the evolution of time and society.

The Aspern Papers, The Death of Klinghoffer, Satyagraha, Candide, and A View From A Bridge all share something in common; they don’t succumb to the traditional mold of opera. Besides A View From a Bridge, love and deception don’t really come into play. I realize Candide shows the relationship between Candide and Cunegonde, but their relationship isn’t (to me) the forefront of the show. These operas present the idea of the hero in a non-traditional sense; the stories really hone in on real-life, and tangible situations, which deal with social, political and domestic issues. Additionally, none of these operas are particularly humorous nor do they conclude happily-ever-after. Do 20^th Century composers purposely want to highlight the negative aspects of life to bring awareness to our current situations? Is the goal of these operas to evoke a strong reaction, thus provoking thought? I really have no idea, but I do know that some of these stories work, whereas others definitely do not (I say this subjectively). I attribute this challenge to the story line and finding the ideal spot for a climactic moment that induces a response from the audience.

As a general, extremely broad, statement, many people really enjoy Mozart, Rossini, Puccini, and etc operas. Yes, there maybe certain ones that people don’t like, but overall, people tend to be very receptive to the ‘old chestnuts.’ Really folks, who doesn’t love Marriage of Figaro or Tosca???? Contrastingly, I have found, throughout the course of this semester, the class has had differing views on all the operas we have covered. For instance, A View From A Bridge, was well received by some of my classmates, while I was not a fan. This all goes back to whether or not a plot is going to work. I think it’s the combination of choosing a laudable story, but more importantly being able to set it musically. The Death of Klinghoffer was by no means traditional and it was exceedingly controversial, however the music added to the momentum of the story, thus making it successful in my opinion. Conversely, A View From A Bridge, had a horrible story and the music was a confusing mish mash of sound. I thought Bolcom tried to create music specific to each character, plus illustrate his or her emotions, plus create a contrast between the two nationalities, which ended up being a hot mess. I appreciated his ability to write in such a manner that lends well to acting and word inflection, but overall I wasn’t really thrilled with the whole thing, which only validates my opinion that he should have picked a different story!

Eddie Is Totally The Diva

In Thursday’s class we discussed the role of women in opera and how they are perceived. The idea of the Diva, the extreme emotional range of women, and the labels that describe them with negative connotations ranging form submissive, hysterical, insane, shrewish, asexual, hypersexual, etc… Many of the operas we have studied in class thus far have promoted these stereotypes and/or labels to depict woman, as well as a woman’s submission to a male figure. However, William Bolcom’s, A View From A Bridge, seems to portray the characters Beatrice and Catherine as seemingly normal women who are trying to respond to a desperate situation in the only way they know how.

In class, the idea that Bea’s music was that of a slow simmer that burst into a hysterical explosion is accurate. However, I don’t think that we should jump the gun and coin her as crazy. I thought Bea’s reactions to her current situation were completely justified and rational. Seriously, ask yourself, how would you feel if your husband was pursuing your segregate daughter? Under the circumstances, I think Beatrice handled herself swimmingly! In fact, I thought Eddie’s character seemed to be synonymous to that of a “hysterical woman,” more than the actual female roles.

It would be interesting to further investigate the topic of how music, throughout history, illustrates male anger versus female anger. For instance, woman will sing extreme highs and lows deeming them insane, whereas men will shout and the range of the music will be more contained, which automatically means they are angry and not crazy. Despite these observations, I don’t think Bolcom’s use of these musical characteristics maintain old stereotypes. For instance, he gave Beatrice a “mad” aria, if you will, with an extreme range because she was reacting to an abnormal, horrible, perverse situation; not because she’s crazy. Honestly, I think most people can relate to Bea because she is dealing with a troubled relationship. Whether you view it as falling out of love, anger at a spouse or just miscommunication, we can all relate to her emotions on some level. On the other hand, Eddie is the one who is having impure thoughts and feeling, then acting upon them aggressively, which most people (hopefully) might not relate to. He fits the idea of the Diva because his character, I can only hope, is so far removed from reality that people want to get a glimpse of the dark side. So even though you, as an audience member, don’t want to be him, the shock factor of his story lures you in. It is through Eddie that we vicariously experience something foreign and extremely tumultuous, hence, the idea of the Diva.

My Circle of Unanswered Questions

John Adam’s, The Death of Klinghoffer, highlights very controversial topics such as culture, race and religion. In class, we specifically addressed whether the opera had anti-Semitic undertones and how that impacted audiences and critics. A few questions were raised during the discussion. How are some directors and/or composers able to get away with making fun of another culture, whereas others are chastised? What makes a Jewish person more Jewish than the next? How do you define which side has struggled the most? This is only part of a conglomeration of questions asked regarding this perennial struggle that has been going on for ages.

As Toni brought out in class, the idea of the American Jew versus the Israeli Jew is two very different entities. In America, there are more branches of Judaism from relaxed to practicing strictly, whereas the Israeli Jews don’t have as many options. It’s interesting to look at it from this perspective because this could be readily applied to Catholics, Protestants or to Christianity in general. What if Adam’s opera had been applied to a different story, using different religions? What if it were Catholics and Protestants? I know that the struggles Christianity has faced, in the recent past, have not been as catastrophic as other religions, but one must realize that there has been struggle. In fact, Adam’s could have applied his opera to any race, religion or culture. What I find most perplexing is how certain depictions of events are praised, while other events are abhorred. Like it was mentioned in class, a big sister can pick on her little brother, but if someone else chimes in, the older sister will defend her little brother; even if the sister and the friend are saying the same thing. Maybe we make a mockery of ourselves because we need to find the humor in a grim situation, and we know that within our circle of comfort it is okay to do that. For instance, Seinfeld was able to get away with many politically incorrect episodes, but it was deemed acceptable. I guess, I’m just mulling over the same issues we discussed in class in hopes of finding an answer. Yet, I don’t think there will ever be a definite answer regarding such a sensitive topic.

Desensitized

The nebulosity of John Adams political views, in The Death of Kinghoffer, has audiences and critics alike disputing the idea that his work is infused with anti Semitic undertones; among other controversial topics. Honestly, Adam’s work presents facts, events and raw emotions that people can’t handle; and personally I find these reactions to be refreshing. Our culture has been desensitized through media, which presents gruesome images that flood our TV’s and newspapers. Before Desert Storm happened, civilians were sheltered from the brutality of the battlefields, but this war was the first to be broadcast on national television. Since the birth broadcasting a war, I feel like our culture has taken a quantum leap in the wrong direction. I think back to a time when soldiers were praised more heavily than they are now for their sacrifice and bravery. In today’s society we are so inundated with violence that we don’t view it as a horrific event anymore. Instead, we thrive on movies that incorporate violence and kids play brutal video games that promote murder. Allow me to give a personal example. Around the holidays my family had a get together, or a pig-out if you will, to celebrate the season. As I walked into the living room my 16-year-old cousin was playing a shockingly murderous video game, where the objective was to kill people; it was a manhunt. I asked him what possessed him to play such a violent games and he simply replied, “It’s okay Shelley, I’m killing terrorists, so it’s okay.” First of all, the fact that he was able to quickly respond with a justified answer that was so appallingly ignorant, insensitive and shocking was quite unsettling to me. I think that our society has succumbed to insensitivity, thus producing a generation of people who either don’t care or don’t find murder and violence utterly intolerable. Our youth accepts violence as part of daily life, either indirectly or vicariously through other filters.

With that being said, Adam’s The Death of Klinghoffer evoked a strong visceral reaction in me. Sadly, in order to get through the opera I had to turn the music off for a second to compose myself. The juxtaposition of the music, story and the images was too much of a stimulus to handle. The opera was a vehicle for empathy to encourage the viewer to understand where people come from and what drives them to such drastic measures. At one point, in the article Klinghoffer in Brooklyn Heights, Fink says, “ No one was trying to justify murder, the composer argued, ‘but there was also violence perpetrated on the other side. Keeping someone bound up in a refugee camp his entire life is a different kind of violence than assassination, but nevertheless violence. I think that’s very hard for comfortable, middle-class Americans watching the world go by via their TV sets to get in touch with.’” I will openly admit, I am living a beautiful, comfortable, happy life. Thus far, I have never been a victim of suppression, oppression, sever discrimination, nor have I been subjected to violence, so I don’t know what desperate measures I would take to change my world if I lived in a violence filled milieu. I cannot even begin to fathom it. I watch the news and I see, only a fraction, how others live; poverty, lack of food and safe drinking water. I am aware of those who live their life in fear of being persecuted, but I can’t even begin to sympathize or relate to such turbulence. I think the most disturbing part in the opera was when one of the terrorists was describing his first gun, which he received at the age of five. All I felt was an intense outpouring of sorrow for this man. The fact that he played with guns was his reality because that is the world that he lives in. What is worse is that our society is “playing” with guns as well, but by his or her choice!

I guess what I’m trying to get at, is this opera not only showed actions and events, it was charged with raw human emotions and personal stories. In essence, Adam’s removed the rose colored glasses from either side, and that was a bitter medicine to swallow. In the end it didn’t matter to me who was at fault because everything came around full circle, everyone was hurting and everyone was to blame. Adam’s opera represents more than just the story he was telling; it’s a picture or snapshot of history repeating itself through misunderstandings, anger, religious differences and revenge. Truly, this opera only reminded my of the sadness that plagues humanity on a daily basis. If anything, empathy and amnesty is what this world needs; in the mean time I will count my blessings.

Diva Daydream

Part of today’s class topic was a riveting, open-ended discussion on the idea of The Diva. Insofar, we discussed reasons as to why the idea of the diva is so cherished and celebrated, some of which include the idea that the Diva experiences the emotional extremes, which most people never feel to that extent. The Diva possess an all-embracing range of emotions and characteristics; dominant yet submissive, stable yet unstable, seemingly normal but actually a little cracked, extreme ecstasy to suicidal tendencies. Who wouldn’t want the opportunity to relish in a euphoric world, even if it was for a single moment in time? In essence, that is what the Diva symbolizes; larger than life experiences which we all wish to attain at some point in life.

Reflecting on the past operas we have studied, I began to look comparatively at all of the female roles thus far. The outer shell of these woman share similar strengths that governs how they act. However, all are influenced or easily persuaded by a male figure thus exposing an inevitably weak side. Please excuse me while I ramble on (I mean vent) about them for a hot second. Cleopatra exudes power and sensuality, yet she insists upon killing herself with a snake because of a man. (I would call that a poor life decision.) Sadie, left Willie Stark’s office on account of him finding “true love.” She felt like she was being replaced, with a “real” woman, as opposed to all his other previous promiscuous encounters, which she tolerated. (Now really, ask yourself, would you tolerate even one indiscretion from a potential lover? Absolutely NOT!) Ann Stanton, where do I begin? She is a wishy-washy, narcissistic woman, born with a silver spoon in her mouth, yet somehow she finds herself in tumultuous situations. Torn by two men, lives a life in secrecy because she’s afraid the public will find out about her affair. Although she is rather flaccid, her situation is melodramatic because she is being coveted by two men, she has dark secrets, yet somehow she pulls through and sets her self “free” to be with Willie and then he bites the dust. Now folks, who really wants to experience that in real life??? Ummmmmm the audience! The audience craves drama and resolve. Who doesn’t want to see a reformed sinner? Personally, I think Bill Clinton would be a perfect candidate for an opera!

People feed off of gossip and fantasize about other peoples’ lives all the time. We see this in the grocery stores right before checking out. Take a moment and ask yourself (be honest): How much do I know about Angelina Jolie and Brad Pitts relationship? Maybe you could even talk a little about Jen? I will openly admit I look at those magazines when I am in line, I can’t deny it. The fact of the matter is, people want to live a “glamorous” life vicariously through those apparently experiencing it. Movie stars, opera stars, politicians live in an esoteric world that we romanticize.

Finally, I’d like to make another point regarding fame and the idea of the Diva. There are those, who are timeless and there are those who dry up. Wayne Koestenbaum, who wrote The Queen’s Throat, makes a very interesting point as he adoringly describes Maria Callas; “She was Callas long before she died, but she would be a little less Callas if she were still living.” Melancholy but true. Many times there are super stars and then they disappear from our daily radar, which I think enhances the idea of the Diva effect. It adds to the mystery and wonder of what the future might have held had the superstar not died. Maria Callas definitely fits into this mold. However, what if she were still alive, would she be considered a “has been” today? Another example, from pop culture, is Nirvana’s lead singer Kurt Cobain who was in the height of his career when he committed suicide. Does this sort of thing add to the legendary, diva aspect of a superstar??? I think it’s the idea of the unimaginable, intangible, and unfathomable aspects of life that the average person desires. Now, personally I have no desire to lead a turbulent, bipolar life, but it is fun to dabble with these extremes time and again. Hence, the reason I love the stage; I want to wear the lavish, shimmering dresses, I want to sing a beautiful phrase and I want my knight and shining armor… even if it is only for two hours of my life… to come and rescue me. Hell, its opera, make it three hours!

The Aspern Papers

Initially, I passively listened to the You Tube clips of Argento’s The Aspern Papers, which I wasn’t overly thrilled about. Then I read the novella and the article, followed by listening to the clips again and somehow I still feel very ambivalent about the opera. Although the music was luscious and swelling, I felt disconnected for a two reasons; I wanted it to be sung in Italian and I was so captivated by the novel that I had a hard time translating the characters I had imagined onto the stage.

The bel canto quality infused in Argento’s score really lends itself well to the inherent rhythm of the Italian language. I appreciate Argento’s attempt at preserving the integrity of James ambiguous intentions regarding nationality, yet there was an apparent void. It was mentioned in class that James was an American writer who lived abroad, which is reflected in his style of music; the juxtaposition of the Italian style sung in English that doesn’t reflect a specific nationality. However, the harshness of the English language and the beauty of the line didn’t quite cut it for me. Instead, the text and melodic line reminded me of Albert Herring in a very odd way. Harmonically and textually, no, but the way Argento wrote the melodic line and set the text definitely, which is why I think the opera doesn’t flow as mellifluously as it could have, had it been sung in Italian. Yet, this since of displacement and ambiguity may have been Argento’s goal.

My second reason is more of a personal issue, rather than a defect in the opera. Allow me to give a personal example. I am an avid, overly obsessed fan of the Harry Potter books. I read all of the books… no wait; I read all of the books twice before I ever even considered watching any of the movies, which I wish I hadn’t done. With that said, watching the movies shattered all of the images I had created in my imagination. Henry James novel had the same exact effect on me as any other great piece of literature does. His eloquent, descriptive writing filled my head with striking images and vivid descriptions of each character. I don’t feel like his novel is easily translated onto a stage because of James’ flowery, vastly ambiguous style of writing. Furthermore, James’ writing paints such glorious images that it might be better left alone to its own devices as a novel.