Background Section

Slide 1 Modernisation of Opera: show photo of Wagner – how did we get to this point?

Slide 2: Critical reviews of Opera modernisation to Begin with. What did they think? Juicy
quotes from Donnington, etc. Show a slide with some quotes over photo of one of the
shows mentioned.

Slide 3: Discuss Levins’ work on the subject, wholly more positive.

Where does the line lie? Can we continue to use old work to make new points, or should it
be a historical reproduction? Why would someone wish to do this?

Slide 4: Tosca for another audience. Example : Chinese Opera versions appropriated for
audiences and the success of them respectively based on how they were set and who they
were played to. Bums in seats – attractiveness of the work vs its social impact.

Slide 5: Gianni Schicchi section – discuss the Rosand work on WHY all Schicchi are set in the
1970s, reference hers and also the rncm one. What purpose does this serve? Photos of
Schicchi, references from Rosand.

Slide 6: Levin mentions a work by Peter Sellars, a revolutionary director. Discuss Peter
Sellars life. Relevance of this? Of course to explain the point – stage direction etc effect of
reception of a work and social importance of the art.

Slide 7: Mozart and Politics. Peter Sellars’ work – Cosi/Don G/ Figaro/ Clemenza.
Discuss Social importance of Arts. Function of Opera in society when it was released. Mozart
talk by Sellars’ – draw info about Mozart and Haydns revolution in music, etc. How does this
then influence Clemenza di Tito? Disucss the points about Mozart writing for Queens
Inauguration.

Slide 8: Trump Tower Figaro. Levins work, look at the production. Trump Tower. What deso
this add, how did audience receive it – what was the social importance of the work based on
plot/vs setting?

Slide 9: Cosi Fan Tutte: Adding interpretation to the work. This version is set in a diner in
New York, really interestingly adds a new dynamic to the girls. This is an even more female
empowered Cosi, with super-realistic recitative and some dominations play. Show the Scene
of Recit and Despina riding the guy, plus perhaps some of the same aria at a simpler staging.
Despina serves Viva Despina che sa servire SARCASM as she hates her job as many in diners
do.

Slide 10: Don Giovanni – Set in East Harlem. Drug fuelled. Black community focused. What
effect does this have on the characters? Play section.

Slide 11: Clemenza. Set during the War on Terror. Discuss Changes in Plot- emperor dies…?
Quote Donnington. Important to note this has a PURPOSE that serves the people rather
than the work. Does this affect our reception of the work – yes, has an important point to
make about the Current political situation the mirrors Mozarts opinion of his own time.

CALISTO SECTION
Slide 12: When is it necessary? To bring back Failed or less important work, or work not in
the canon. Show old photo of Venetian Opera.

Slide 13: Show old Calisto. La Calisto Not well received. A little background, explain the
critical response, the death of the main cast, the eleven sets required, painted, etc. Talk a
little about it. How much of a work is important to retain? Instruments, ornaments, what’s
the piece and what is the performance? Quotes from treatise on Early Music, Scholars
dedicate lives to recreation of old art and interpretation of the music, informed important
but more important to make some impact.

Slide 14: Cavalli is not like Mozart in that his political views were not important in his work.
How does this affect our use of his work? Is it abuse, or is it simply appropriation like we saw
in the Chinese versions of Tosca?

Slide 15: 1971 Leppard Calisto.

If we were to expect performers to continue to perform this piece in the way it was staged
and performed initially, would it have made such a huge impact in 1971? Talk about
Glyndebourne, show clips of the scene. Explain in detail the difference of Leppards scoring,
and what he did to appeal to public. Also show critiques, and public reception. What did it
say? Why did this work in 1971? Comic Opera, male/fem swapping, makes fun of gender
and is light hearted. Janet Baker probably helped. PLAY SECTION of Satyr secene.

Slide 16: Briefly discuss CUTS and versions. Arrangement as a concept. Satyr’s in 2018.
Calisto is updated to TODAY. Looking at the Satyr scene – quote the score. Show clip, discuss
the 1971 meaning and the relevance socially and to the original. How does casting/
instrumentation/ etc change the effect of this moment on the plot for Linfea, the mood of
the audience, etc. Maybe PLAY SECTION with Accordion etc.

Slide 17: Not only characters that were affected. Longborough Calisto totally different –
how/ why/ what is different? Instruments – characters (Wagnerian in a sense) Satyr scenes
and the ending scenes are totally flipped on their head to point out social failings. Nymph’s
role in gender – is she negative/positively seen by audience? Can we guarantee either?
Show photos describing the changes to this version.

Eternities are cleaners. Why? Effect on the actors – how did they respond to it? Why is this
important? Influence on the music. Eternita cleaners music, Linfea and Stayr music, Io son
other ocatves how affects character, why ? Effect on the actors – talk a bit about Levins
writing on the Sellars production of Figaro.
Slide 18:Further into characterisation, Mercurio – super cool, wingman. Type. Neil Balfour
beatboxing on stage – why? What does this mean, why do it and why was it well received?
PLAY SECTION of Recording one and Recording Two. Neil vs another normal version.
Slide 19: Calisto herself: how does this character work now? Discuss ending, show te bear,
perhaps play recording of ending if not at 10m. Talk about the Ending. Calisto’s Arc, why the
directore decides to change this and why it changes the reception of the show entirely and
its purpose, entirely. This gives the show realness, character development and etc.
Important to show Calisto as a WOMAN in our time. Much more useful.

Slide 20: Social importance and importace of audience and timinmg of a production.
Reception of artwork is heavily effected by the current socio-political situation: see Covid-
songs in the charts, etc.
This would have been awful in 1971, but now amongst the metoo movement this is
completely necessary. Discuss the social importance of Operas and what the effects of these
productions respectively would be.
Perhaps mention Sellars Figaro again here. Fiagro is about classes, not about paygaps but
this production definitely is about paygaps. Very Male/ Female oriented. Don G about drugs,
crippling addicitons and effects on community. Cosi is hyper-feminised and opinionated. The
purpose of the plot is changed completely.