MSC3044: The History of Music from Classicism to Modern Times

On the Afternoon of March 18th, 2012 New York City Opera performed their rendition of Mozart’s opera entitled, ‘Cosi Fan Tutte.’  This production took place at the Gerald W. Lynch Theater, which is located within John Jay College.  Tommasini begins his review with a positive comment about New York City Opera’s production, saying that they have produced a must see event.  He also states that this show is the “third of only four productions in the company’s modest season.”

Tommasini says that New York City Opera’s production of ‘Cosi Fan Tutte’ can be appreciated and enjoyed by anyone, no matter if they are an “opera veteran buff” or a “curious newcomer.”  The show was performed in an intimate theater setting, which held only up to 600 people, which according to Tommasini, is “ideal for Mozart.”  The director of this show is a man named Christopher Alden, who has also directed another rendition of a Mozart opera entitled “Don Giovanni.”  Two other people who were extremely important to this production were the set-designer and the costume-designer.  Andrew Lieberman was responsible for creating a set that had the look of a “black-and-white movie.”  Terese Wadden was responsible for creating the costumes, which had the feel of the “early 20th century.”

One of the only few specific pieces of music that Tommasini briefly touches on in his review is an aria sung by the character of Dorabella.  The aria that Dorabella sings during the first act is entitled, “Smanie Implacabili” which is translated into, “Implacable desires.”  Tommasini says he felt that, “the music one of the most powerful expressions of sexual frustration in the opera.”  Since I did not see this production of ‘Cosi Fan Tutte’ and have not heard the aria entitled “Smanie Implacabili,” I took it upon myself to find a recording of this song on Youtube.  “Smanie Implacabili” is a extremely beautiful and face-paced aria that lasts for about three minutes.  The song requires a female singer who fulfills the vocal range requirements of a mezzo-soprano performer.  After watching the video clip of the “Smanie Implacabili,” I can recognize where Tommasini was coming from when he stated that this music is a powerful expression of sexual frustration.  I have attached a link to the video clip that I was able to find online: http://youtu.be/x_qM3iFJDzY

Anthony Tommasini from the New York Times has written an article in “Artsbeat” recently entitled “Adapting, Revising, Provoking”.  He says that there are mixed feelings among the public about creative teams revamping productions of operas and musicals.  He talks about the recent re-creation of Gershwin’s “Porgy and Bess” at the American Repertory Theater in Cambridge, Mass., last fall and the public’s outrage calling this revamp “no reimagined adaptation but a desecration of a great American opera.”

Tommasini does not take a side in this article but rather presents the information.  I think the reason for that is because every circumstance is different and according to what Tommasini says, even the Gershwin brothers had to cut sections out of “Porgy and Bess” because of time constraints when it was first performed in 1935.  But the issue here is, he was the original composer, the original imagination that brought life into this production.  He had to cut complete arias out of the piece and he was saddened by this.  It is one thing to have to cut out stage directions and such but to cut the music is much more devastating to the creator.  In addition, Gershwin also changed all of the recitative to spoken rather than sung.

I think the issue here is that the reason why creative teams want to revise these productions is because they may not speak to an audience the same way as they would have when they were first created.  Things change.  So, in order to get the most out of the performance, the information must be conveyed in a different way.  It is ok for visual information to be conveyed differently,  but only if it leaves the music unchanged.  When one starts to cut too much and add too much, they might as well call the production something else.  That is exactly what happened in director Peter Brook’s adaptation of t Mozart’s “Magic Flute,” presented by the Lincoln Center Festival last summer.  “Because there is little protection of classical works, Mr. Brook did what he wanted with the piece.”  However, he renamed the piece “A Magic Flute” and not “The Magic Flute” because he did not want to think he was reinventing Mozart’s opera.  Rather, he reintroduced themes of the opera with a smaller production in a 100 minute performance and incorporating other works by Mozart.  This truly wasn’t a re-creation, so it did not receive any criticism.

Tommasini states that, “There are no ground rules when familiar operas and, for that matter, musicals and plays are revived in adapted or reconceived versions.”  He also adds that, “Works still under copyright protection allow limited tinkering and are protected (or not) by the estates of the creators. (That the Gershwin estate gave the O.K. for the revamped “Porgy” is a sore point for those who love the opera.)”  Perhaps, the Gershwin estate did not examine the revamped “Porgy” closely?  Or is it that this re-creation did in fact mirror the Gershwin’s original intent and that is why they allowed its performance?  It’s impossible to know what the Gershwins would have thought or Mozart or any playwright for that matter.  It is the responsibility of the creation team to keep true to the music as well as the intention of the composer.

http://www.nytimes.com/2012/03/16/arts/music/quartet-variations-at-the-chamber-music-society-of-lincoln-center.html?_r=1&adxnnl=1&ref=allankozinn&adxnnlx=1332293992-5ELTUXp3TnDS6aFiIyXGlw

In the article “Composers Are Familiar, but Not the Compositions,” Allan Kozinn writes about Mozart’s String Quartet in C Minor (K. 406) as being a”dark, tumultuous score” after hearing it being performed live by the Chamber Music Society of Lincoln Center. The piece had been written originally for wind instruments but Kozinn writes that the score for strings seems to have more substance.

In any case, it can be assumed that either the first movement, the fourth movement, or both of the movements were the only ones that were played because they were in allegro and matched the excitement that Kozinn talked about. The other two movements, titled “Andante” and “Menuetto in Canone; Trio al Rovescio,” did not sound like they had any tumult at all and it could be inferred from their names that they would not have had as much disorder anyways.

Although there is a lot going on when hearing the first movement of Mozart’s String Quartet in C Minor (K. 406), it is not as disorderly as Kozinn wrote it would be. After a few parts where there is much activity, there is a slight respite in the form of a sweet melody that gives a balance and stability in the movement. But the piece does have a dark aura surrounding it throughout.

Since it is in C minor, the work would contain some elements that make it sound dark. After the brief pause in the middle of the piece, the music begins to highlight that darkness, no longer having going back to the pleasing melodies heard earlier in the piece.

Compared to Kozinn’s review of Mozart’s String Quartet in C Minor (K. 406), my review is a little less exaggerated. Kozinn overstated the frowning, chaotic nature of the piece a bit too much which altered my expectations of the piece containing turbulent strokes at a fast pace. But then again, I have never heard it live or heard it be played by the veteran instrumentalists who played for Kozinn.