elpais.com
Contemporary Opera Adapts Popular Culture, Facing Challenges of Musical Legitimacy
Recent opera adaptations of popular works like *Festen* and *The Name of the Rose* are achieving critical and popular success, highlighting a trend of contemporary opera engaging with popular culture to broaden its audience while facing the persistent challenge of establishing musical legitimacy.
- What are the immediate impacts of contemporary opera's increasing adaptation of popular films and novels on the art form's audience and critical reception?
- The contemporary opera scene is increasingly adapting popular novels and films, such as the recent opera adaptations of *The Name of the Rose* and *Festen*. These works, while receiving critical acclaim, face the ongoing challenge of finding expressive legitimacy through vocal performance. Recent examples include the opera *Las horas*, based on the novel and film, which, despite a star-studded cast, lacked a unique musical identity.
- What are the long-term implications of this trend for the future of opera composition, and how might it affect the evolution of operatic musical language and storytelling?
- The future of opera may increasingly rely on its ability to creatively engage with pre-existing popular narratives while offering unique musical contributions. Composers like Francesco Filidei, in adapting *The Name of the Rose*, demonstrate a sophisticated approach that interweaves musical references with structural innovation, potentially paving the way for more creative and successful adaptations. However, the success will hinge on the ability to find a balance between honoring the source material and creating a new and compelling musical experience.
- How do recent opera adaptations like *Festen* and *The Name of the Rose* address the ongoing challenge of finding expressive legitimacy within the genre while engaging a wider audience?
- Opera's attempt to broaden its appeal by incorporating popular culture narratives reflects a deeper struggle for relevance and audience engagement. The success of *Festen* and *The Name of the Rose* demonstrates that this approach can achieve both critical and popular success, but the question of inherent musical expressiveness remains a key challenge for composers seeking to bridge the gap between popular and classical aesthetics. The use of pre-existing narratives provides a strong foundation, but the music must stand on its own merits.
Cognitive Concepts
Framing Bias
The article frames the discussion around the success or failure of contemporary operas to engage with popular themes and find "expressive legitimacy." This framing subtly suggests that appealing to popular culture is a necessary criterion for successful contemporary opera, potentially overlooking other valid artistic goals. The positive reception of *Festen* and *The Name of the Rose* is emphasized, shaping a narrative of successful adaptation.
Language Bias
The language used is largely neutral and descriptive. While terms like "taquillazos cinematográficos" (box office hits) and "superventas literarios" (bestselling books) are used, they are accurate descriptions and do not carry significant bias. The article maintains a generally objective tone.
Bias by Omission
The article focuses on specific operas and their adaptations, potentially omitting other relevant contemporary operas and their reception. While acknowledging the limitations of space, the lack of broader context about the trends in contemporary opera could leave readers with an incomplete picture. For example, it doesn't discuss the economic factors affecting opera productions or the diversity of styles beyond those mentioned.
Sustainable Development Goals
The article discusses opera adaptations of literary classics such as Umberto Eco's "The Name of the Rose" and highlights the intellectual and artistic depth explored in these works. These opera adaptations can be seen as enriching cultural understanding and promoting appreciation for literature and the arts, contributing positively to quality education.