On Mon, 10 Aug 1998 [log in to unmask] wrote:
> movies, TV shows, whatever, that would make real matter for opera. [...]
> Why isn't this process of genre transformation occuring more often today?
Because the forces that produce opera today do not believe it
should reflect, let alone embody, the ideas and ideals of contemporary
(American) middle-class (ie. "popular") culture. From an American
marketing point of view, opera is by definition, "upper class" (which I
regard as absurd, but that's the way it is) and foreign.
Listers may recall my "operatic proposal" to create an opera from
Star Wars which I posted May of last year (you can read this long and
warped article at: http://www.columbia.edu/~km34/anakin), and my ongoing
view that opera must be pollinated by Hollywood if it is to gain
the relevance and immediacy as an art form that it once had.
> As a first suggestion to get the ball rolling: Remember MOONSTRUCK,
The problem with MOONSTRUCK, is that like GHOSTS OF VERSAILLES,
the subject matter strongly refers, in fact, to itself (ie. opera) and a
kind of recycling which cries chicken to me. Besides, I always hate the
Nicolas Cage characters. :-) I used to think The Graduate would work, but
but maybe opera needs larger-than-life characters to sustain itself. Like
Vader, Zorro, the Lone Ranger, ALIENS' Ripley, Superman, Dick Tracy,
CASABLANCA, etc., but mostly it needs a composer with the muse to do it,
not John "I'm not really a fan of opera" Adams. I have never met a
contemporary composer who truly loves traditional opera, and until there
is one, it will be a long time before curtainup.
OperaStuff: http://www.columbia.edu/~km34 email: [log in to unmask]