“it is a curious story… i have it written in faded ink”
Following in the footsteps of Harrison Birtwistle‘s Minotaur and Thomas Adès’ The Tempest (which featured the half-human character Caliban), the Royal Opera House has commissioned yet another opera based upon a legendary monster. The as-yet-untitled oeuvre is the life story of Anna Nicole Smith, with music by Mark-Anthony Turnage (The Silver Tassie) and libretto by Richard Thomas (Jerry Springer: the Opera).
According to Elaine Padmore, Covent Garden’s director of opera, the Anna Nicole tuner “… is not going to be tawdry; it is going to be witty, clever, thoughtful and sad. In broad outline, it will tell the story of her life, the people who influenced her, her progress . . . . a parable about celebrity and what it does to people. It can be moving, it can be funny and it tells universal truths about human frailty.
“It is a very sad story – a larger-than-life American story, as was Puccini’s Girl of the Golden West. It will be a slice of our times – of America in the pre-Obama days.”
La Cieca’s invites her cher public to suggest possible casting, aria titles and so forth for the work. [via The Telegraph]
Harry, what you said was “Gert:(comment 135#): I liken those types of experimental productions that play normally in the basements of Arts Center complexes as manifestations of ‘thespian rodents and maggots’ let loose to play and have a public wank, once in a while. Fumigant and disinfectant literally poured down the stairs into those environs would be a better solution. And spare the rest of us a wasted night.”
Taking into account comment #135, the comment was addressed at ‘much of what happens in the Linbury [Studio Theatre at the Royal Opera House]‘. I don’t think I inferred anything, so much as summarised what you had said, which remains, quite clearly, a sweeping generalisation, a pretty offensive and ignorant one at that.
Your episode with the flaming newspaper sounds unpleasant and ridiculous, but I don’t think it gives you license to condemn everything that goes on at the Linbury or other similar performance spaces.
What΄s the point of writing an opera about Ann Nicole Smith or about anyone else if we know in advance that the music is going to be poor?
MICHAEL, is that a comment on Mark Anthony Turnage’s writing? I haven’t heard many of his large scale works, but what I do know from personal experience is that his vocal music is decidedly more singable that that of many other contemporary composers.
Too right, MICHAEL. Just look at the pile-of-crap ‘operetta’ that Opera North has just done in the UK – ‘Skin Deep’, a flaccid, verbose, sophomoric ‘satire’ on plastic surgery. Yawn …
TG- what does ‘Skin Deep’ have to do with Michael’s prediction that Turnage’s music is going to be poor? I thought that ‘The Silver Tassie’ was a truly wonderful achievement. Although I’m informed that my appreciation for his work is ‘misplaced’, because Turnage ‘is not into writing opera, he is fascinated with making copy as a ‘cheap rat-bag socialistic commentator’
Apart from the fact that some of us don’t see the word ‘socialist’ as an insult, how the hell does our dear harry presume to know what Turnage’s motivation is? And to say that he is not interested in writing opera is of course gibberingly absurd.
Hi C’s, #134, thanks for the Dallas “Moby Dick” casting info. Casting sounds top notch. Not surprised that La C’s favorite tenor is cast as Ishmael (or maybe I read this here or somewhere else and had forgotten…)
Do you know if the spermicetti scene will be included? Melville’s paean to transcendental “brotherly love” and and one of the most erotic passages I’ve encountered in 19th century literature.
It will be interesting to see how Queequeg/Queerqueg works. And also to see if Heggie takes us at least as far — and perhaps even further — than Salome and Britten in terms of depicting unabashed homoerotic love. Something more forthright than the “closet” operas, e.g. Pecheurs, Iphigénie en Tauride, Tristan, Parsifal, etc.
Actually, Harry’s tirade convinced me that the Anna Nicole Opera will be worth a hearing, ESPECIALLY as the composer is , in Harry’s words tends to spread “rat’s-ass socialist thought”–that works for me…thanks,Comrade H…as usual, whatever you have to say, I take the opposite tio be closer to the truth…..
As for your discomfort in “fringe-theater”—if you know you are generally gonna detest it, in the extreme manner you seem to—JUST DON’T GO…(follow Nancy Reagan’s immortal dictum…”Just say No”
btw….what exactly is “rat-bag socialist” in the context of ….music…?…does the composer include strains of “The International” in his scoring…?
brooklynpunk: the answer is quite simple. As we all realize a composer needs a libretto ( a script!)to work with,to set music to.If a composer keeps using regularly librettos with certain types of theme,is it not feasible to make judgments,where he is ‘coming from’? For one example: Britten, his ‘sexual closet /repressions ‘ or his themes of non violence in the face of aggression, run deep throughout his works. Get it?
Next you look at ‘the material’: what sort of musical treatment has it being given. Is it over the ‘top’? Is it too grandiose, emphatic,or ramming home some point when there is no dramatic substance to back the situation being played out. Ask what is the motivation, behind it. It does not ‘accidentally happen’,though I suspect you would plead otherwise. An alert audience then feels, being taken for a ride,asked to give acceptance ,undue attention or creditability to composers’ pet subjects. Subject matter twisted and distorted out of shape to fit his niche and / or hang ups.’. Some composers forget the important question ‘does enough people out there in the World really care?’.
Sadly today, many composers are not using material of accepted universality; we are seeing them fascinated by stories, here today, gone tomorrow. Anna Nicole Smith ,for instance? I am sure though Turnage in promoting it,will call on the great Greek myths of wrath, to show how the ‘poor darling girl of the tabloids’ was done in’.He will have to find something to talk about at those promotional lectures and press conferences, all part of the composition deal /commission. Let the bandwagons roll on. Culture is getting perversely more funny and insane by the minute by people said to be promoting the future of artistic endeavor. yet,who are driving nails into its coffin, faster than a fast ram jet nail gun.
harry take your pills then sit down and be quiet.