Can the role of Otello be sung by a singer who is not black? Is Wagner still frequentable? Should we erase the misogyny of Mozart’s operas?
Like other artistic disciplines, opera is seriously affected by the wave of revisionism which tends to eliminate or correct values and realities which are difficult to combine with our century. This art, which has roots firmly rooted in the 18e and XIXe centuries, provides a thousand and one reasons for the guardians of political correctness to intervene.
Get ready, the phenomenon of “offensive operas” is just beginning. He seized the biggest opera houses. One can imagine that it will be increasingly rare to hear and see works in their original version. Worse, some risk being blacklisted altogether.
The latest blatant example of this broad movement is the prestigious Glyndebourne Festival in England, which announced just before the holiday season that it would “rethink the way in which offensive operas” are offered to the public. The company recognizes that some works contain “historical and social” viewpoints that may shock today’s audience.
“Where once the exoticism and orientalism of the portrayal of non-European cultures was acceptable, we recognize through our lens that what was wrong then is still wrong today,” it read. in a press release.
Elimination of blackface in Aida
This festival joins Madrid’s Teatro Real, which last fall announced that it was eliminating all blackface in its production ofAida. Earlier, in 2022, the Arena Di Verona had the misfortune to resort to this old practice (in the same opera) and drew the wrath of certain spectators and artists (the American soprano Angel Blue removed from production).
I must say that I completely agree with this vision. It is even staggering to see that this has not yet been settled. Opera lovers have always accepted that a 17-year-old character be sung by a 43-year-old performer. So, can they be imaginative for the rest?
On the one hand, we fight against transformations, and on the other, we seek authenticity. German tenor Jonas Kaufman has tasted the effects of this mixture of claims. While he held the title role ofotello, by Verdi, in November 2021, at the Teatro di San Carlo in Naples, he was treated to a few boos. The public did not accept Kaufman, who is white, playing this character, who is black.
This brings us back to the issue of inclusion in opera. Great strides have been made in recent years, but much remains to be done. If there were enough black singers to perform Otello, the problem wouldn’t arise.
Speaking ofotellorenowned choreographer John Neumeir had the surprise of his life when he learned that the work he had done around this ballet had been canceled by the director of the Royal Danish Ballet in Copenhagen because of the “racist stereotypes” he conveyed.
The representation of an African dance was the trigger for this controversy launched by the dancers. The scene, which was only two minutes long, showed a white dancer painted blue performing an African dance. The 83-year-old choreographer defended himself by saying that this dance was “codified and documented”. This did not succeed in convincing the management, which shelved this ballet last November.
Mozart’s misogyny
Some opera houses now require more careful preparation work before presenting an opera. This was the case at the Royal Opera House in London during the production of Madame Butterfly last summer. For a year, specialists accompanied the director to ensure respect for Japanese culture in his performance (set, costumes, make-up, etc.).
These are things that can be more easily rethought. But opera is an archi-complex world that offers all kinds of pitfalls and challenges to directors.
What are we going to do with certain “inconvenient” elements that are at the heart of the stories imagined by the librettists? Should we eliminate the misogyny found in Così Fan Tutteby Mozart, or the examples of incest in the Ringof Wagner?
How to deal with the fate reserved for certain female characters like Tosca, Carmen, Desdemona or Pamina? Assaulted, kidnapped or sequestered, women do not always have the best role in opera.
And then there is the anti-Semitism of Wagner or the racism of Verdi.
How many pebbles in the shoes of those who establish the programming! Mostly male and white a few years ago, they now rub shoulders with women and people from minorities who are concerned not to offend the public.
There is currently a climate of chilliness. Opera house managers watch what others do. We constantly live with the fear of seeing a controversy break out. We protect ourselves as best we can. The Metropolitan Opera of New York has even placed a warning on its website for those wishing to view a work through its online service.
It reads: “Some performances available in the catalog Met Opera on Demand include offensive racial and cultural portrayals and stereotypes. The issues are varied – from offensive past production practices such as makeup blackface, brownface and yellowface to racist cultural representations in the texts of the operas themselves. »
A revolution in staging
Where will all of this lead us? To a revolution in staging, in my opinion. Imaginative and daring directors have many years ahead of them. Opera directors will increasingly turn to them to find “solutions”.
But predictably, this wave is creating another problem: opponents of progressivism in opera. More and more artists deplore the distortion of classical works. In May 2022, tenor Roberto Alagna and soprano Aleksandra Kurzak retired from directing Tosca which is currently offered at the Liceu de Barcelona.
In order to highlight the Church as a tool of political oppression and moral domination, director Rafael R. Villalobos incorporated elements from the film Salo or the 120 days of Sodom, by Pasolini, which depicts the last days of the fascist regime in abjection and sadism.
After viewing video images, the two interpreters were shocked to discover a universe where sadomasochism, nudity and pedophilia intertwine. When Aleksandra Kurzak saw that Scarpia’s character was wearing a sado-maso type necklace, it was too much. The two singers have left the ship.
The world of opera has great challenges ahead of it. And no doubt a lot of controversies, crises and tough debates. As for the war between purists and progressives, it will undoubtedly be epic and entertaining.
But since this art form is capable of anything, including allowing a character to sing a six-minute aria with a knife in the stomach, I’m sure it too will be able to dive into the 21st century.e century.