Modernist Opera :: Modernism Music Art Opera Essays

Modernist Opera Modernism, a major(ip) artistic movement of the first half of the twentieth century, is traditionally a classification of the visual arts, including such(prenominal) schools as Abstraction, Impressionism, and Expressionism. In architecture, too, was Modernism recognized, in the work of people like Frank Lloyd Wright. Even in literature, with the increase use of symbolism, Modernism was an influence. Modernists in all of these art forms are consciously engaged in the expansion of the boundaries of their art, and in asking their audiences to reject the spatial relation quo, some(prenominal) of the art and of some aspect of society or floriculture the art form addresses. When faced with a discussion about the speculation of the existence of Modernist opera, classificationists around the world can be heard cough quietly into their drink and muttering something vague about having somewhere else to be. Until recently, opera and Modernism were two terms rar ely, if ever, heard together. The large amount of intuition that has been devoted to the study of Modernism and its principles has not been extended with the same zip to include its application to opera. Questions have been raised about whether it is even thinkable to define Modernist opera, and few have attempted such a feat. I confess some confusion as to why the issue raises such difficulties. An examination of just three of the operas written in the time period, Richard Strausss Salome, Alban Bergs Wozzeck, and Kurt Weills The Threepenny Opera, shows us that a mixture of Modernism is not inappropriate to the genre. Like the visual and literary arts of the time, these operas are attempting to redefine their genre and to bring public awareness both to the possibilities of the genre and to societal issues. Perhaps I will begin my phone line about the suitability of a category of Modernist opera with a handsome disclaimer. It is important to note that, as far as op era is concerned, in that location is no definite boundary between pre-Modernist works and Modernism itself. one(a) can argue that Wagners attempts in the nineteenth century to fall upon opera into something new are examples of an early Modernist inclination. Wagner had new ideas so huge that he had to build his own theatre to house them. His interest in revolutionary politics and in the philosophical ideas of great thinkers like Nietzsche is sure unique for opera composers prior to the twentieth century.