The first comes from Terry Teachout, who is in the process of writing a libretto for an Opera himself. In this worthwhile post, he contemplates how the size of an opera can determine its future life. Of course, the scale of opera means his own work in progress which involves at least 20 people, is considered small. To which all I can say is... oy vey!
Meanwhile, composer Michael Kaulkin, who caught the San Francisco production of Dr. Atomic weighs in on the Sellars libretto and the Sellars staging, something I wish I had been able to see. He still finds in wanting. Key quote: "Never sing a weather forecast". Read about it here.
I have to say, my interest in opera has certainly been piqued as of late. I think it was a combination of several factors-- not finding the opera I saw too musically intimidating even though I still don't have a real vocabulary to discuss it beyond my basic musical training, being able to apply my dramatists toolbox to the subject at hand, not being bored by the art form but rather by the production etc. that has gotten me thinking about it more. Certainly in opera, there are a different set of issues for the art form (like that you want to advance narrative but getting through even a small amount of text takes a very long time) that there aren't in theatre, but still it's an interesting cousin to have around and think about more.
Key quote: "Never sing a weather forecast"
Never? Isn't one of the great sections of 'Rigoletto' the last act where the quartet stands transfixed at an approaching storm?
And what about the Royal Hunt and Storm scene in 'Les troyens'?
Actually I agree the 'Dr A' libretto is a real problem -- but hate to see people start laying down the law on what 'never' works in a show.
Posted by: Reep | November 20, 2008 at 12:19 PM