Saturday 16 October, 3.00pm until 4.30pm, Folkoperan, Hornsgatan 72, 118 21 Stockholm, Sweden
Venue: Folkoperan, Hornsgatan 72, 118 21 Stockholm, Sweden
Tickets: Free, available from the venue
Though once hailed as the music of the future, few today might share Wagner’s dream of a progressive unity of all the arts in opera. Although a night at the opera can be cheaper than a day at the races or rock concert, it is still often decried as a slightly curious indulgence of the rich and elitist. Many people are not quite sure just what opera actually is: a peculiarly camp form of classical music, stylised musical for the posh, or just something that allows people to feel superior by listening to something in a language they (or we) can’t even understand? Opera today has a question to answer in terms of just what it is that makes it valuable. Against a backdrop of deep cuts across arts funding, has opera a particularly strong case for the defence in comparison to, say, fine art or indeed street dance or rap?
Some defenders of opera make an appeal based on its continuing relevance to contemporary society and even its value in educating and integrating the young through various forms of outreach projects. In the UK, TV is credited with popularising opera as a singing style. The success of tenor Paul Potts on Britain’s Got Talent, or of the other reality TV show From pop star to opera star, reveal a potential for crossover, while various ‘street opera’ or ‘flash opera’ initiatives have helped overcome opera’s stuffy reputation. Few, however, are really comfortable with explaining just what the value would be in giving up the fame and riches of pop stardom for the arduous training and – for most – relatively impecunious life of an opera singer. The obvious appeal of being a musical star on TV is rather different from a self-sacrificing dedication to one’s art. And as for the audience, why would anyone want to sit and watch an opera all the way through rather just than listen to ‘Nessun Dorma’ on a greatest hits CD? After all, one can thrill to the beauty of the music yet be blind to the (often silly) storylines or stylised spectacle.
But does opera really have to be ‘relevant’? With music, singing, the libretto, the drama and spectacle, opera is a unique synthesis of artforms meant to give voice to what is inexpressible in our existence. That makes it hard, at first sight remote and certainly not easy to digest at first sitting. But not necessarily unworthy of the attempt, even without sugaring the pill. So, is opera worthwhile in its own terms, or should it be forced better to justify its existence? Is it unpopular precisely because it seems so hard to make a case for its relevance? Should we make room for an artform seemingly marked by pretentiousness precisely because art is supposed to take us beyond the everyday?
The discussion will be introduced by Pia Kronqvist, managing director, Folkoperan.
Listen to the session audio:
general artistic director, Folkoperan; professor of musical drama, Opera Academy, Gothenburg
associate fellow, Institute of Ideas; editor, Culture Wars; editor, Debating Humanism; co-founder, Manifesto Club
cultural journalist, Kulturnyheterna, SVT; opera reviewer, Nummer; broadcaster; singer; former head, Opera Agile
opera singer, tenor; founder, Operalabb Sweden; op-ed cultural writer; consultant on operatic culture
co-director, NY Salon; co-founder, London's Truman Brewery
composer, stage, orchestral, chamber, choral and vocal works; organisational manager, Swedish Musicians' union; composer, opera, Shit också!
general manager, Vadstena Academy; commissioner and librettist, contemporary opera
head of external relations, Institute of Ideas; chair, IoI Economy Forum; convenor, The Academy
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The gap between the culturally enriched and impoverished is as wide as ever – and right now, we couldn't even cater to the former if we tried.Tom Service, Guardian, 2 March 2010
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As Man stands to Nature, so stands Art to Man. When Nature had developed in herself those attributes which included the conditions for the existence of Man, then Man spontaneously evolved. In like manner, as soon as human life had engendered from itself the conditions for the manifestment of Art-work, this too stepped self-begotten into life. Link downloads a .pdfRichard Wagner, translated by William Ashton Ellis, The Wagner Library
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