Handel Hero(ine)s
Tue, Mar 20 2012, 1:46PM
I had the considerable pleasure of attending a performance of Handel's Giulio Cesare last Friday. Despite the fact that I live in the city where the Messiah was first performed we are starved from lack of Handel operas so this performance filled a considerable gap.
My wife who is not tuned into opera at all had one significant complaint - and I tend to agree with her. All the male protagonists, save one (Ptolomy) were sung by women in drag!! Though she acknowledged that the music was excellent (bravo, Mr Handel) and the singing and playing of a high standard (cadeau, Opera North), she could not identify or empathise with women engaging with other women on matters of love, death, passion, sex. Ptolomy however stood out - young, good looking, virile - you believed that he was the sexually charged vilain that he was supposed to be. The falsetto didn't put her off.
On late return to the house, my wife insisted on listening to Fischer-Dieskau and Peter Schreier (on DG) sorting out the men from the sissys, as she put it.
On recordings, I usually prefere the good mezzo in stead of the countertenor. However, even better, I prefer the transposition in favour of baritones and tenors - though I am acutely aware of being in the minority. What do other contributors think? (I am aware that this thread looks like a thread I tried to start before).
Tue, Mar 20 2012, 6:48PM
#2
RE: Handel Hero(ine)s
Thanks, JHK, I am glad to know that I at least belong to a minority of 4.
I think that this question goes to the core of opera. When music is staged, I'd always opt for la trama first. Theatre must be relevant, not museum. For me, this also means that I generally opt for opera performed in the vernacular (as they say when meaning 'local language) - if translating Ibsen brings the plot alive for non-Norwegians, the relevance of Puccini's theatre is no doubt heightened for the less-initiated non-Italians when translated. But I appreciate that I may find myself part of an even smaller minority here.
I dug out a review of the aforementioned recording of Giulio Cesare. It was instantly dismissed as irrelevant on account of 2 of the main protagonists being men.
Tue, Mar 20 2012, 6:49PM
#3
RE: Handel Hero(ine)s
I can fully subscribe JKH's post. I fully agree not only on what he claims, but mostly on how he put the whole thing in the right perspective.
Personally, mostly because I stick to the original more than others and by virtue of my musical background and interest, I prefer the counter-tenors (there are some brilliant ones, even in our days) or some very dedicated women sopranos (Dessay) or mezzo sopranos (Bartoli, DiDonato). The latest version of the Opera in question on MDG is a favourite of mine. However, the great Fischer-Dieskau/Schreier version is a most welcome exception to the modern rule. (And I don't mind revisiting it as often as it gets).
Parla
Wed, Mar 21 2012, 5:55PM
#4
RE: Handel Hero(ine)s RE: Handel Hero(ine)s
HMV, I think the minority may be a rather substantial one, if truth be told and that our little group may be larger than we might think.
All other things being equal, I tend towards the opposite view on original v vernacular performances, but it's the quality of the performance that counts. I've been to some distinctly ropey original language productions which were trumped by, say, ENO offerings. And, of course, the reverse. If it convinces me as a listener - and viewer, speaking of the theatrical dimension - and the translation isn't an awkward fit, then that's good enough for me.
That's an interesting point regarding translations in the theatre. Occasionally one sees reviews of a theatre group performing, say, King Lear in Serbo-Croat or whatever and I often wonder how many people who can't speak the particular language ever go along.
An interesting twist on operatic 'trouser' roles which also emphasises the point you make about theatre not being a museum piece was a performance we saw recently of Julius Caesar (the play, not the opera) by a extremely accomplished amateur group . It was advertised as being updated for the 'Twitter generation' which didn't really cause me to look forward to it with unalloyed delight. My mood was further depressed when I saw that Brutus and Cassius were taken by women. My predictions of doom were confounded magnificently - it was a superbly convincing performance. Even the 'Twitter' aspect was fully integrated into the whole and made relevant.
Open minds, eyes and ears, I suppose and the rest will follow.
Here endeth the homily!
Wed, Mar 21 2012, 6:59PM
#5
RE: Handel Hero(ine)s
she could not identify or empathise with women engaging with other women on matters of love, death, passion, sex.
I think she maybe protesting too much. Ok you are getting old and prefer a night in but that doesn't mean she does. I'd wake up and smell the coffee if I were you before it's too late. Start wearing cravats and yellow socks cross gartered, that should put some spice back into the relationship. She may still wander but what's good for the goose .........
Wed, Mar 21 2012, 7:05PM
#6
RE: Handel Hero(ine)s
she could not identify or empathise with women engaging with other women on matters of love, death, passion, sex.
Dr B out of the box again?
That's a very interesting post, HMV, if you don't mind my saying so, and certainly struck a chord. Although my operatic tastes tend firmly towards the 19th century, I do think Handel composed some of the most viscerally thrilling vocal music there is.
Mission Control (who most certainly is tuned into opera) has absolutely the same distaste for women singing male roles, even though that, obviously, was how they were written. It's strange. I suppose that, like many aspects of opera at the time, one simply has to accept (or ignore) the conventions of the time in order to get at the music. Even Rosenkavalier provokes the same reaction in her.
As far as voices are concerned, I generally prefer a 'trouser' role to be sung by a suitable and accomplished female voice rather than a counter-tenor, but am certainly not averse to transposition to the tenor/baritone voice if done well and maintaing stylistic integrity (he said pretentiously).
When a working time-machine hits the shops (any day now, I'm told) it will be fascinating to go back and see just how spectacular were the great castrati of the past and how they actually sounded.
JKH