Modernizing Opera

Author(s): Charles Robert

Source: The Musical Times , Mar., 1938, Vol. 79, No. 1141 (Mar., 1938), p. 221
Published by: Musical Times Publications Ltd.

Stable URL: https://www.jstor.org/stable/922501

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 March 1938 THE MUSICAL TIMES 221

Modernizing
By CHARLES ROBE
UNDOUBTEDLY the outstanding feature of modern at the rise of the curtain. The best attained was a
opera representation in Germany, where more slow and cumbersome approach from the wings.
than a hundred subsidized theatres are Now, amidst raging storm, thunder and lightning,
devoted to the constant production of operatic we see the small outlines of the phantom ship appear
works, is the extent to which technical inventions on the tossing waves in the far distance. With great
and contrivances are being introduced, and the rapidity it approaches, increasing correspondingly in
marked success of these innovations. For years the size in so doing; then, at the critical moment, a
film has been slowly but steadily reducing the blinding flash of lightning at the front of the stage
attendance at these theatres. The rising generation, deprives the audience momentarily of sight, and the
accustomed to the realistic representations of the vast hulk of the actual ship with masts towering
cinema, finds the scenic attainments of the opera into the clouds, red sails set, and the black figure of
almost ridiculous in many cases. From its earliest the actual Hollander standing motionless in the bows,
days, the scenic surroundings of opera have been moves forward the last few feet, seemingly about to
regarded merely as a frame for the musical per- sail off the stage and down into the orchestra. At
formance, and, whilst considerable advance has been the moment when it was impossible to see into the
made on the acting stage, practically none at all stage, the ship-represented only by the high bows
has been achieved on the operatic. This was by no and two masts-has been shot up from below and
means the fault of the composers, and particularly of heads straight towards the audience. At the same
Wagner, who made such demands that his producers time white - capped waves break over the rocky
were often in despair. For instance, he insisted at landing-place, whilst the storm rages until the sails
Munich that the Valkyries should ride at full gallop furl themselves. Much the same procedure is
on live horses over the stage in the Valkyries' Ride adopted when the fated ship departs again on her
scene-a wish that, of course, has never been ful- last voyage, when the cinematograph representation
filled. The obesity of almost all singers of both of its sinking is most effective. This realistic
sexes, and the usually advanced age of prima donnasrepresentation is truly a masterpiece of modern
cast for youthful parts, has tended to diminish stage management, and, far from appearing out of
further the general, interest of a public still highly place, it adds greatly to the interest and com-
musical but who have signified by their absence that pleteness of the performance. Taking place at the
the time for reformation has come. Failing to grasp commencement of the opera, the audience are at
the situation at first, the German government sought once attuned to the supernatural atmosphere desir-
to compete with the film by greatly reducing the able but hitherto not attainable with the antiquated
prices of admission, particularly for the members of methods of the last century. Such mechanical
that vast semi-political organization known as adjuncts would have been considered trivial and out
'Kraft durch Freude ' (' Strength thro' Joy '), who, of place in opera a few years ago, and they may be
in many instances, obtain even stalls for sixpence stillor by many who have not had the opportunity of
less. This experiment did not prove to be successful. seeing them and realizing the effects produced. But
Many of the recruits to this well-meaning undertaking the very favourable start made at Munich, which is
had never been in a large theatre before and were far now being followed at Berlin and Frankfurt, may be
more interested in their novel surroundings than regarded
in as the commencement of a movement to
the unrealistic and artificial performance on the take advantage of the possibilities offered by recent
stage, and their experience did not dispose them to inventions in order to portray realistically the
come again. Realizing from these results that the events of the plot.
time had come when opera must be modernized and As opera itself is the essence of artificiality, the
both action and surroundings made to correspond introduction of modern appliances in order to heighten
to the requirements of text and plot, the leading and intensify this primary condition can only be
theatres have begun to introduce the employment welcomed.
of technical appliances hitherto only known to the The producers of opera have learnt another lesson
cinema. from Hollywood. There it has been sufficiently
The most recent developments on these novel demonstrated that singers of modest bodily propor-
lines have been at the Munich Opera. Here we tions and even of athletic build can sing quite as
now see a highly realistic representation of the well as those who have accumulated a vast super-
Valkyries' Ride. High amidst a background of huge,fluity of fat, often rendering any attempt at quick
dark, threatening clouds, rolling constantly across movement impossible. The directors of many
the back of the stage, the Valkyries follow one operatic theatres in Germany are giving preference
another on galloping steeds with flowing manes, to young and active aspirants, some even threatening
waving their spears and disappearing again into the with dismissal those singers who are too stout unless
clouds before finally alighting on 'terra firma.' It they take immediate steps to reduce their bulk and
is technically remarkably well done as well as being endeavour to act and 'look' their parts as well as
realistic, and would doubtless have met with sing them. Wagner's demand '.Give me actors
Wagner's unqualified approval. Encouraged by that can sing' appears about to be realized at last.
this success, the Munich management have now That this requires no great sacrifice is already shown
ventured on a more ambitious representation. This by the fact that Gigli and the gifted mezzo-soprano
time they have chosen the 'Flying Dutchman' for of the Munich Opera, Madame Ranczak, have both
modernization. Wagner prescribed that the Dutch- reduced their weights very considerably, the former
man's ship should approach very rapidly from the having lost over two stone in six months whilst the
background at the far side of the Norwegian lying latter has attained a slimness that enables her to
at anchor. This has always been a difficult problem represent characters as the plot requires and not
for the producer, in fact impossible of solution. with a figure that must invite the ridicule of a
Usually the spectre ship was seen already in position modern audience.

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