What makes a successful opera libretto?
Fri, May 10 2013, 10:17PM
#2
RE: What makes a successful opera libretto?
There have been some really interesting comments on this topic and my thoughts pretty much follow some of those alreayd expressed. I don't think it is necessary that a libretto need be great literature to be a great libretto. In some ways music in opera replaced some of the subtlety or nuance of the finest poetry or drama. In a drama the psychological insight in character and motivation rests on the words and actions of the actors, whereas in opera the music taking on this role. Music oculd be described as being the 'magnifying power' regarding charcaterisation in opera. This might explain in part why operas can be performed to a far larger audience (in general) rather than the dramatic theatre.
I think a strong libretto is one that presents characters and events that offer a composer the strongest possible structure onto which to add the musical layer. It is the synergy between the two that produces the overall effect. But is also certainly true that while great music can overcome a weak libretto a strong libretto will always always be undermined by flawed music. It would be interesting to know if this is because the brain more quickly processes our reponse to music over words, which is an effect that I am often aware of when at the cinema.
Wagner is an interesting case. I remember last year watching Tony Palmer's 'Wagner' and the scene where he recites the opening of Gotterdammerung to a room full of gentlemen half asleep. Even Richard Burton cannot make the words come alive on their own. Wagner's words definiely need Wagner's music. I agree that when we come to the stage a cleverly developed production can accentuate the strengths inherent in the works. The last Tannhauser I saw was in Berlin in 2009 while it had its moments the whole thing remained earthbound, when we need to feel the pain of the final scenes I think if the work is to achieve its aim.
There are works where I think the libretto stands on its own, but most are adaptations of stage works. Wozzeck works wonderfully well on stage as botn drama and opera, but like Salome (and to some extent Elektra) the librettos are only slightly mdified frm the orginal dramas. Britten's and Janacek's operas seem to me to often have very strong librettos in terms of literature.
Of course the librettist and the playright don't play on a level playing field. Robert Altman may have been able to develop crosstalk within a scene to an artform in cinema but a librettist has the opportunity to weave in and any number of characters and their current situations with the help of the music and vocal registers. I doubt the finale of Act 2 of Figaro or the fnale of Rosenkavalier would make any sense spoken straight and the skill of a Da Ponte or a Hoffmannsthal combined with the genius of Mozart or Strauss not only makes the owrds work but expands our understanding of the moment and possibly even human nature.
Fri, May 10 2013, 10:23PM
#3
RE: What makes a successful opera libretto?
Always thought the film was bloated, tedious and hugely overrated. The last thirty minutes, especially - almost unwatchable.
(Much prefer The Conversation........)
Personally, while I admire Apocalyspe Now (and if you have not seen it at the cinema then you have not seen the work as designed) my favourite film form that period is the very underrated 'Night Moves'.
Making a DJ style segway back the topic people often describe Coppola's film as operatic. The same label is applied to some of Sergio Leone's movies. I wonder what exactly are the qualities that make something operatic?
Fri, May 10 2013, 10:23PM
#4
RE: What makes a successful opera libretto?
Always thought the film was bloated, tedious and hugely overrated. The last thirty minutes, especially - almost unwatchable.
(Much prefer The Conversation........)
Personally, while I admire Apocalyspe Now (and if you have not seen it at the cinema then you have not seen the work as designed) my favourite film form that period is the very underrated 'Night Moves'.
Making a DJ style segway back the topic people often describe Coppola's film as operatic. The same label is applied to some of Sergio Leone's movies. I wonder what exactly are the qualities that make something operatic?
Fri, May 10 2013, 10:28PM
#5
RE: What makes a successful opera libretto?
Has there ever been a successful opera libretto that has been set to bad music. No, how would we know. As far as librettos go there are the good, the bad and the ugly. All have been made into successful operas.
Sat, May 11 2013, 4:45PM
#6
RE: What makes a successful opera libretto?
Well, so many fascinating responses.
I don't think I disagree as much as some of you think! Anyway, I'll try to sum up so far, as best as I can.
I think we all agree that the music is paramount: that there are successful operas with bad libretti, but no-one would be interested in an opera just for its libretto, if the music was not good.
I think we all agree that a great play (or other great work of literature) does not automatically lead to a great opera, even with the greatest composers. On the other hand there is no doubt that many composers have been attracted to great plays as subjects for their operas. These present great challenges for the librettists who must transform the texts into something suitable for opera, and for composers who must deliver an opera that equals or transcends the original play or text. The greater the play the greater the task for both.
When the play is a 'national treasure' things sometimes get hot: the Germans were so incensed by what Gounod and his librettist had done to Goethe's Faust that for years they refused to call the opera Faust at all: in Germany it was always known as Margarite. Even Verdi's great Otello has to stand comparison with Shakespeare 'straight', an herculean challenge. As Naupilus wrote
"In some ways music in opera replaced some of the subtlety or nuance of the finest poetry or drama. In a drama the psychological insight in character and motivation rests on the words and actions of the actors, whereas in opera the music taking on this role."
When the poetry is of the very finest, the task facing the composer becomes almost impossible.
Put out the light, and then put out the light.
If I quench thee, thou flaming minister,
I can again thy former light restore
Should I repent me; but once put out thy light,
Thou cunning'st pattern of excelling nature,
I know not where is that Promethean heat
That can thy light relume.
Surely no music can improve on this!
On the other hand, though not strictly relevant, a great play which is well known to the audience can be helpful for the stage director in bringing an opera to life: (s)he can exploit aspects of the play not prominent in either libretto or music.
Elsewhere we have tended to discuss the importance (or otherwise) of the libretto for the listener. But I think Naupilus makes an important point:
"I think a strong libretto is one that presents characters and events that offer a composer the strongest possible structure on to which to add the musical layer. It is the synergy between the two that produces the overall effect."
Indeed Naupilus: the more important is what the librettist offers to the composer.
I suppose one could generalise by saying that, for the listener at least, the libretto becomes more significant as we move progressively from the most bel canto to the most 'mal canto' in opera.
Not unexpectedly Wagner provokes the strongest reactions, so I say nothing more about Wagner. And since Handel opera is not my 'cup of tea' I'd better keep silent on that too.
What Parla wrote for G & S Mikado:
"A theatrical nonsense along with a musical folly, but how together they work so wonderfully. The text, all of a sudden, seems to make almost perfect sense, while the music is flying and flowing."
Seems to me to be capable of being extended into even the greatest opera collaborations, not only to musical follies. Such, IMHO, applies to Da Ponte's collaborations with Mozart, Boito's with Verdi and Hofmannstahl with Strauss For me each of these great composers never produced greater operas then when they collaborated with these inspired and inspiring librettists. Or to quote Naupilus once again:
"The skill of a Da Ponte or a Hoffmannsthal combined with the genius of Mozart or Strauss not only makes the words work but expands our understanding of the moment and possibly even human nature."
Thanks to you all!
Chris
Always thought the film was bloated, tedious and hugely overrated. The last thirty minutes, especially - almost unwatchable.
(Much prefer The Conversation........)