Films based on opera often feel inadequate. They are frequently an attempt to introduce reality into art, and this concept is flawed. Directors fail to realize that what it should be is the other way around: bringing art into reality, making opera about human beings and their everyday trials. Luckily, some directors do know what they’re doing, and Italian director {…}
Ukrainian writer Ivan Kotlyarevsky wrote the original story of “Natalka Poltavka” in 1819. Scholars and nationals alike consider Kotlyarevsky to be the “father” of Ukraine’s literature. Having helped Ukrainian literature make the jump from its older form to its new form in the late 18th to early 19th centuries, Kotlyarevsky (much like Pushkin for Russian literature) mirrored the societies in which {…}
This month the Metropolitan Opera celebrates the holiday season with three productions opening. So we will continue our series that introduces newcomers to opera through film. Opera can be daunting and while some works are more well-known than others, those that have never been to the opera, don’t have the same connection to certain works as traditional operagoers do. This {…}
Censorship. Repression. Scorn. Brutality. Humor. Absurdity. Hysteria. Russia’s relationship with self-expression has been a fraught one throughout its tumultuous history. Full of danger and hardship, with no guarantee that your vision will be seen, respected, or even tolerated unless it is confined to authorized narratives, music has always been that one art form whose voice is hard to control and {…}
November at the Metropolitan Opera will showcase three new operas productions. Audiences will see “Don Carlo” starring tenor Russell Thomas, “Rigoletto,” and the world premiere production of “The Hours” starring Renee Fleming and Joyce DiDonato. In the third article of the series, we will look at two of those operas and their corresponding silver screen adaptations. The Hours Modern operas {…}
The now well-known story of a celibate, chaste monk (Athanaël) trying to convert a licentious courtesan and worshiper of the Goddess of Love (Thaïs), has decorated operatic stages and captivated audiences since its premiere on 1894 at the Opéra Garnier (National Opera House) in Paris, France. With a harrowing story originally written by the French writer Anatole France in 1890, {…}
As the Metropolitan Opera enters October, three new productions will open and as we pointed out in the first article of this series, entering into opera out of the blue can be a daunting task. Some works are more well-known than others but even for those that have never been to the opera, those classics don’t have the same meaning {…}
Entering into opera out of the blue can be a daunting task. It’s not always easy to know what’s the first thing to watch. And moreover, what might be easiest to take in first might not be readily available. Take the Met Opera’s new 2022-23 season which opens this week (tomorrow as of this writing) and features three operas that {…}
Shot by Italian director Dario Argento in 1987, and praised for its creative gore and dramatic use of tension, the giallo (Italian mystery thriller) film “Opera” recounts the bloody escapades of a masked killer as he stalks an operatic soprano during a production of Verdi’s Macbeth at an opera house. Shot on-scene, and with fourth-wall defying actors and singers playing {…}
Despite Arnold Schoenberg’s (1874-1951) widespread popularity as one of the most important ‘fathers of serialism’ and the person almost solely responsible for ushering in the age of dodecaphony (12-tone technique), his four operas are largely unknown. Despite this, it was Schoenberg’s fourth opera, “Moses und Aron,” which would transform opera forever. No longer constricted by the indulgent attitudes of Italian {…}
In January 1989, the Polish film director Andrzej Żuławski released his film “Boris Godunov,” a film that cost seven million dollars to create. It featured a live production of the monster opera conducted by the eminent Soviet cellist and conductor, Mstislav Rostropovich. The film would re-conceptualize the opera in a mise en abyme (self-reflection) style, layering the operatic performance inside {…}