Simply put – Opera is in trouble. Yes, yes, I know you’ve read such leaders before, but these latest infographics from Bachtrack (go to the downloadable link at the bottom of the Bachtrack page) are, in all respects, damning.
Whereas, we are all familiar with the disparaging quotes about statistics such as, “There are three kinds of lies: lies, damned lies, and statistics” commonly attributed to either Mark Twain or Disraeli, it’s hard to refute these simple numbers to show that a significant statistical percentage of opera companies are complicit in hastening the demise of this artform.
You cannot skirt around the fact; irrespective of the protestations and excuses commonly offered up by General Directors (or their equivalent in different countries) that a diet of only Verdi, Puccini and Mozart – accounting for 33% of all Opera presented – is untenable in 2019!
These infographics from Bachtrack would have been equally enlightening if they had showed the 20 least operas performed in 2018, as statistics on these would probably point to companies and works that are deserved of more attention.
Cases to highlight the current paucity of innovation in Opera production choices would be Conrad Osborne’s recent article about the demise in productions of Gounod’s Faust in the latter half of the 20th-Century (at least at the MET). In no respects is Gounod’s masterpiece a curio to be heard once in a blue-moon. It is simply a case that it has, for whatever reason, fallen out of favour in New York. But, more importantly, why does the inexplicable demise of a ‘Faust’ consequently subject audiences to yet another ‘Bohème’ or ‘Traviata’ as probable (although not exclusively so) production alternatives?
Conversely, innovation in opera production in Europe is omnipresent. Let’s take the offerings available on Operavision as one example. In January alone you could delve into the incredible Káta Kabanová by Janácek; Libuše by Smetana or Korngold’s sublime Die tote Stadt as just a small selection of operas free to watch on-demand. None of these three operas made Bachtrack’s Top 20 list. Why, when all of these operas embody qualities that make them utterly producible on any given day?
Osborne implies in his informative blog that much of the repetitive offerings of the same Top 20 operas can be ascribed to a decline of mature voices with the power, resonance and depth to undertake heavier roles often required in less performed operas. Although this lack of talent depth is indisputable at the meta-level of the industry; with an increasing reliance upon, and abundance of, young singers eager for opportunities, it is too facile to suggest this is the major cause of decline in a vast number of operas being overlooked for production.
Of course the perennial argument being that if some combination of the usual top 20 suspects in any season, year-on-year, are not rolled out the likelihood of company insolvency (or some concomitant form of financial collapse) will inevitably ensue. But this is not a reason to maintain the status quo. Continue Reading →