smh.com.au
Rusalka: Opera Australia Reimagines Fairytale to Attract New Audiences
Opera Australia's production of Antonin Dvorak's Rusalka, directed by Sarah Giles and starring Nicole Car, opens at the Sydney Opera House July 19th, reimagining the fairytale as a story of self-discovery, aiming to attract new audiences to opera after a recent financial deficit.
- What broader trends or implications might Rusalka's success suggest regarding the future of opera and its engagement with contemporary audiences?
- Rusalka's success could signal a trend toward reinterpreting classic fairytales in opera to attract younger audiences and revitalize the art form. This approach, which leverages familiarity to overcome barriers to entry, might become a key strategy for opera companies facing financial challenges, such as Opera Australia's recent $10 million deficit.
- What is the significance of Opera Australia's production of Rusalka in addressing the company's recent financial challenges and attracting a broader audience?
- Opera Australia's production of Rusalka, directed by Sarah Giles and starring Nicole Car, challenges traditional fairytale narratives by portraying the titular character not as a lovesick maiden but as a courageous explorer seeking self-discovery. The production, running from July 19th to August 11th at the Sydney Opera House, aims to attract new audiences by using a familiar story.
- How does the portrayal of Rusalka in this production differ from traditional interpretations of the fairytale, and what impact might this have on audience reception?
- The success of Opera Australia's recent Cinderella production, which saw a significant increase in younger audiences and first-time opera-goers, suggests a strategy of using familiar fairytales to introduce opera to a wider demographic is effective. Rusalka's themes of self-discovery and challenging destiny resonate with contemporary audiences, potentially broadening opera's appeal further.
Cognitive Concepts
Framing Bias
The article frames the story primarily around the empowerment of women, particularly in opera. The director's perspective on challenging traditional portrayals of female characters is emphasized throughout the piece. Headlines and subheadings are not provided, but the narrative structure itself heavily favors this perspective.
Language Bias
The language used is largely neutral, but the inclusion of the director's description of the original Little Mermaid ending as "horseshit" and a "shit lesson" introduces informal and subjective language. While this adds to the article's informality and personality, it is also potentially unprofessional for a piece that mentions Opera Australia's financial problems. The repeated use of words like "fierce" and "courageous" to describe Rusalka could be considered slightly loaded.
Bias by Omission
The article focuses heavily on the director and lead soprano's perspectives, potentially omitting other relevant viewpoints such as those of the opera's composer or other creative team members. The financial struggles of Opera Australia are mentioned, but a deeper analysis of the reasons behind these struggles is absent. The article also does not discuss the potential impact of staging a fairytale opera on a broader audience beyond those interested in opera or fairytales.
False Dichotomy
The article presents a somewhat false dichotomy by contrasting the simplistic message of Disney's The Little Mermaid with the more complex interpretation of Rusalka. While this contrast is effective in highlighting the themes of Rusalka, it might oversimplify the range of interpretations possible for The Little Mermaid.
Gender Bias
The article highlights the lack of female representation in traditional opera and celebrates the involvement of women in the production of Rusalka. While this is positive, the focus remains heavily on the female performers' perspectives, and there is limited information about the involvement of men in the production team. The description of Rusalka as a 'fierce and courageous explorer' avoids stereotypical female portrayals.
Sustainable Development Goals
The article highlights a female theatre director, Sarah Giles, reinterpreting a classic fairytale opera, Rusalka, to empower the female protagonist and challenge traditional gender roles. The production features a renowned Australian soprano, Nicole Car, who actively seeks out roles that allow for stronger female representation. This challenges the historical imbalance in opera where male voices have predominantly been featured and celebrated. The focus on a female perspective in both directing and starring role is a positive contribution to gender equality in the arts.