And so to my guest commentator of the day:
Fred Kolo designed most of the productions that built Robert Wilson’s reputation: The King of Spain; The Life and Times of Sigmund Freud; Deafman Glance; The Life and Times of Joseph Stalin; and A Letter for Queen Victoria (in the original Spoleto production). He has also designed many regional theatre productions, including five seasons of musicals for the Pittsburgh Civic Light Opera and opera productions at the Hartt College of Music; has directed numerous works in New York downtown venues, where five of his own plays have also been produced; and has done, as they promise us on the PBS News Hour, “much more.” Fred does some neat restoration work on recordings, and tells me that in the dozen years beginning in 1964, he “saw a lot of opera.” His list is presented in the random order in which its items occurred to him, without editing or other input from me. Its contents will not surprise readers of this space.
WHO OR WHAT IS KILLING OPERA?
The dearth of genuine vocal teachers with a depth of understanding of both repertoire and technique.
Almost all currently working stage directors of opera, who imagine that we care about their “ideas.”
Company managers who don’t really understand the history of operas and what makes them “work” in performance.
The fans, who mostly have failed in discriminating between the very good and the wholly inadequate.
The designers who take poor stage directors at their word and deliver what they want (though I acknowledge that they know they really have no choice).
Most of our universities, who imagine that singing can be taught by a music department in a program within a liberal arts curriculum. One credit per semester in voice will not produce a real singer.
Wealthy board members who can only imagine an opera company built on a business model.
The critics who imagine that they can help the cause by being understanding of its current limitations.
The ubiquity of amplified music in our culture, and the use of microphones to project singing, rather than its projection being the job of the singer.
Digital recording engineers.
The record companies.
The New York Times. I can’t explain this but I’m sure I’m right about it. Perhaps by invariably supporting the trendy, the arty, the au courant, and by thinking they are the “king makers.”
(Fred adds that “this list can surely be expanded.”)
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NEXT TIME: As indicated above, my next post will be in September—let’s call it Friday, September 11, which gets us past the Labor Day weekend and nominally into our next opera season. Of course, if something seems to demand comment during the next two months, attention will be paid. But that’s not the plan.
And à propos of that: I will be culling and adding to my blog announcement list, whereon fair warning of postings is sent out, usually on the preceding Wednesday. If any readers not on this list wish to be added to it, please send the appropriate email address, and it shall be done. Meanwhile, feel free to roam the archive and, of course, the other pages of the website.