OPERAWISE: Operetta

In this series of podcasts, Seattle Opera Dramaturg Jonathan Dean gives listeners a taste of nine different types of traditional opera. Operetta is a delightful kind of entertainment resembling opera, but different; whereas in opera the music tells the story, in operetta the music decorates a story which is usually little more than a joke—a story that nobody could possibly take seriously. Operetta developed, in the late nineteenth century, just as opera began taking itself perhaps too seriously. Operettas from traditions in Paris (Orphée aux enfers), London (The Pirates of Penzance), Vienna (Die Fledermaus) and New York City (Rose-Marie) typify the genre. And although many operettas remained popular for decades, the golden era of creating operetta turned to silver, then iron and finally steel as the twentieth century turned its energy toward making movies and wars.

Musical examples on the podcast include:

• •Can-Can from Orphée aux enfers, orchestra of l’Opéra National de Lyon conducted by Mark Minkowski (EMI 1997)
• •Entrance of Public Opinion, from Orphée aux enfers, Ewa Podles and orchestra of l’Opéra National de Lyon conducted by Mark Minkowski (EMI 1997)
• •Duet from Orphée aux enfers, Natalie Dessay, Laurent Naouri and orchestra of l’Opéra National de Lyon conducted by Mark Minkowski (EMI 1997)
• •Galop Infernal from Orphée aux enfers soloists and orchestra of l’Opéra National de Lyon conducted by Mark Minkowski (EMI 1997)
• •Pirate King’s Song from The Pirates of Penzance, James Milligan, Glyndebourne Festival Chorus, and Pro Arte Orchestra conducted by Sir Malcolm Sargent (EMI 1961)
• •“A British Tar” from H.M.S. Pinafore , soloists, Glyndebourne Festival Chorus, and Pro Arte Orchestra conducted by Sir Malcolm Sargent (EMI 1961)
• •Nightmare Song from Iolanthe, George Baker and Pro Arte Orchestra conducted by Sir Malcolm Sargent (EMI 1961)
• •Merry Widow Waltz from Die lustige Witwe, Felicity Lott, Thomas Hampson, and London Philharmonic conducted by Franz Welser-Möst (EMI Classics)
• •Waltz from Die Fledermaus; Vienna Philharmonic conducted by Herbert von Karajan (Decca 1960)
• •“In Feuerstrom der Reben” from Die Fledermaus; Waldemar Kmentt, Vienna Philharmonic conducted by Herbert von Karajan (Decca 1960)
• •Mounties’ Song from Rose-Marie, Nelson Eddy with chorus and orchestra conducted by Nathaniel Shilkret from “Oscar Hammerstein—the Legacy” (Pearl)
• •Indian Love Call from Rose-Marie, Jeanette MacDonald and Nelson Eddy with orchestra conducted by Nathaniel Shilkret from “Oscar Hammerstein—the Legacy” (Pearl)
• •“O, what a beautiful mornin’” from Oklahoma sung by Gordon MacRae (original 1955 film soundtrack album)

That's it for now, in terms of genres of traditional operas!

The Genius of French Opera

La Marseillaise (Jean Béraud, 1880)

In honor of Seattle Opera's upcoming premiere of Beatrice and Benedict, today we celebrate French opera! (We're singing B&B in English, since our production kicks off Seattle Celebrates Shakespeare; but it's a very French opera.)

Ever since opera first came to France from Italy in the seventeenth century, the French have had their own wonderful way of blending the arts to create the hybrid which is opera. French opera has always been a balancing act: balancing poetry with music, musical delights with visual spectacle, dance with stasis, public with private, sorrow with high spirits, and above all balancing—and sometimes encouraging the tug-of-war between—passion and reason.

The following survey of French opera history features moments from some of our favorite French operas as performed at Seattle Opera. CLICK HERE to listen to a full playlist without interruption.

GLUCK TAKES REFORM OPERA TO FRANCE

Orphée Leads Eurydice from the Underworld (Corot, 1861)

Opera is fundamentally a fusion of music and drama, words and notes.