Skip to: Content
Skip to: Site Navigation
Skip to: Search


Taking opera for a spin

American operas are bursting with activity and attracting crowds, but is it enough to turn them into tomorrow's classics?

(Page 2 of 2)



New operas face special barriers. Not only must opera companies worry about whether audiences will accept an unknown work, in lieu of yet another go at "Carmen" or "Aida," but they often must spend more money on them. New works require new sets and costumes, commissioning fees, and extra rehearsal time, Mr. Scorca says.

Skip to next paragraph

"Opera companies want to break out of the box" and produce new works, says Leon Major, artistic director of the Boston Lyric Opera and the Opera Studio at the University of Maryland. Doing new works feeds "their very soul" as an artistic entity. But the financial risks are huge if the production should flop at the box office.

The vast majority of operas staged in the United States are still from the classic European canon. Even a relatively successful American opera, such as Leonard Bernstein's "Candide," has been performed professionally only 18 times since 1992, according to Opera America. That pales in comparison with the 182 productions of Puccini's "Madama Butterfly," for instance, during the same time period.

'American spirit comes through'

To minimize the financial risk of new works, Major says, some opera companies and university opera programs "are trying to do small experimental things, which don't require big orchestras or big choruses."

The new American works employ a variety of forms and approaches. Some of the works challenge audiences with unfamiliar sounds. On the other hand, a work such as "Little Women" is "very accessible to an audience," Major says.

Whatever the opera's style, he says, an "American spirit comes through the composers and their works," even though it can be hard to pinpoint exactly what it is. One distinction can be in the choice of raw materials.

Just as Mozart and Verdi drew on stories, musical styles, and themes of their day, today's American operas are doing the same, often incorporating jazz, gospel, blues, or other indigenous musical styles. Both "Dead Man Walking" and 1999's "The Great Gatsby" by John Harbison are examples.

Asking whether today's new American operas will become tomorrow's classics is asking the wrong question, Opera America's Scorca says. "We need to let go some of the concern about whether something is an enduring work." The questions, he says, should be, "Did it move me? Did it engage me? Did it give me a new understanding or new insights that I find valuable?"

The definition of opera is becoming more fluid than ever. Operas may have spoken text; musical theater may be entirely sung. Some musicals make vocal demands on singers that approach those of opera.

An experimental opera like Reich's "Three Tales" makes use of video images and recorded spoken text. But figuring out exactly where opera is heading is not really the issue, says Susan Blumstein of the Manhattan School of Music, which offers professional opera training. "In my mind, it matters that we continue to create. We don't know where we're going, but we do know what we want to express: what we have inside ourselves."

History suggests it may be difficult to judge the future success of today's new American operas. "You know, 'Carmen' was panned at its opening," Boston Lyric's Major says. "It was ripped apart as being vulgar and incomprehensible music ... and for its licentiousness. A hundred years later, it's the most popular opera in the world."

• New American operas on stage in coming months include 'A View from the Bridge,' written in 1999 by William Balcom (and based on the Arthur Miller novel), performed by New York's Metropolitan Opera Dec. 5 to 28 and the Portland (Ore.) Opera March 29 to April 5; 'Dead Man Walking' at the Austin (Texas) Lyric Opera Jan. 10 to 18; and 'Little Women' at the New York City Opera March 23 to April 8. 'La Bohème' on Broadway begins previews in late November and opens Dec. 8.

Permissions