Musical Theater Composers Composing for the Opera

There's an article about this on BWWorld, and also one in the Times today. I think it's a cool notion. Guettel, Tessori and LaChiusa all already flirt with non-traditional music conventions in their work for the musical theater and the opera has been flirting with musical theater lately (An American Tragedy and putting on productions like The Most Happy Fella). Of course the Lincoln Center already supports these guys in their endeavours but I think it will provide a unique outlet for more unique musical voices.

It's disheartening to think that these composers would defect to the opera stages but I don't think it's necessarily the case. I don't think the article on BWWorld mentions it but they also signed up Rufus Wainwright to write one. Now that's going to be something to see! Rufus Wainwright has a great contemporary pop musical voice and if he does finish something it'll undoubtedly be really compelling and raw. It might also interest him in writing for the theater a lot more... *crosses fingers*

Traditionally when a musical that resembles opera comes along it's considered ahead of its time and it takes some years before it is fully appreciated (if ever). Most things find fans though. I'm wondering what route the composers'll take, operetta, traditional opera, musical theater disguised as opera, or something totally different? And does this mean we'll be seeing a lot of performers crossing over?

I've felt lately that it's a good time to see a promiment new art form (theaterwise specifically) emerge, so this is exciting!

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Updated On: 2/13/06 at 04:08 PM

https://forum.broadwayworld.com/readmessage.cfm?thread=886773&dt=2

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This idea thrills me. LaChiusa and Kushner writing for opera,whoa whoa whoa. So far away though!!!.. speaking of kushner and opera, does anybody have any more info as to when PBS will be showing last year's Angels In America.

I said the idea of composers defecting to opera (in other words abandoning the musical theater) was disheartening, but I then went on to say I didn't think it would happen because I felt like the genre lines were being blurred for the better. I also ended my post with a long thing on how I think it's cool when people cross over, so we are in agreement on all the issues.

Yes, Bernstein wrote for the operatic stages, Loesser also wrote a musical that resembles an opera. Back in the day most musicals had operetta-ish music. But Bernstein, Loesser, and Sondheim were anomalous examples until the 90's, and I think we're seeing a new genre emerge, which is exciting.

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Six years away? Guettel is a perfectionist and it takes him years to write a project...plus he has his next commercial musical to complete as well. So the time frame seems to be right.

Rufus writes in mini-pop opera style anyway and he will be BRILLIANT at this.

What a wonderful idea.

I don't think these composers will be "defecting" to the world of opera. The point of this announcement stresses that these composers have been approached about workshopping new pieces for possible production at LCT or the MET. This is a big change for the opera world where the commissioning of new works usually happens three to five years in advance. The commission happpens, the composer works, (hopefully) delivers a finished score and the opera company is pretty much "stuck" (for lack of a better word) with what the composer gives them as a final draft. This new system would allow them to write, re-write, etc., which is not the usual process for opera. The statement from the MET also says that while these pieces may be workshopped, there is no guarantee they will be produced. Currently the MET is only holding one slot open in a "future season" per Peter Gelb.

Broadwaygiant - The Great Performances Website lists "Angels in America" to be broadcast in spring/summer 2006. Nothing more specific than that...

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Opera is damn hard to pull off, and can easily be unconvincing, as Scooter says. But when the whole cast and music just clicks somehow even the immensely improbably becomes dramatically transporting. It's not just about the singing, though I know that's what most opera fans concentrate on.

I hate to use Wagner terminology because it comes with such baggage, but opera really is a Gesamtkunstwerk (complete/total art work), and I think if you leave out the staging you're missing a lot. There can be drama, and I've seen it. It's possible, and it's just amazing when it works.

Maybe I'm a complete traditionalist sap, and I know all my experimental theater friends think I am because of this, but I totally love big and extravagant opera productions. Yes, breaking boundaries is good and I don't shy away from fringe theater, but sometimes enormous sets, fancy costumes, and 100 people on stage is simply impossible to resist. (And I've seen modernist minimal opera that has worked beautifully as well.)

Topic? Uh....I loved Caroline and Piazza, so bring it on. And get Michael John LaChiusa to join in if his one-act for Audra is any good.

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