Early Italian Opera Within the Labyrinths of Postmodernity

Abstract

The article is focused on certain critical questions of the position of early Italian opera in contemporary culture. For a long time both performers and scholars considered it as an outdated genre meriting only historical interest. This state of affairs began to change in the 1970s, when a series of facsimiles prepared by Garland Publishing revealed a certain number of published opera scores and librettos. Over the past 50 years, three trends have emerged in the scholarly approach to early Italian operas. The first is that of deconstruction of the prevailing and largely erroneous stereotypes. The second is that of reconstruction, filling in the gaps of knowledge (compilation of encyclopedias, catalogues, works on the history of opera, and monographs about composers). The third is that of interpretation of the 17th- and 18th-century European musical and theatrical heritage in the context of culture and style. In this regard, a special position is held by the issue of performance interpretation. The postmodern era has transformed the early opera from an antique rarity into a topical musical and theatrical phenomenon. The dimension has opened up for directorial experiments aimed at projecting this genre onto the topical problems of today, bringing it closer to the perception of the mass of listeners – each and every one. The plotlines based on ancient myths and historical legends, conventional comedic and farcical situations referring to the earliest literary specimens are easily adapted to the realities of the modern theater: one convention becomes replaced by another, the wigs and camisoles of the 18th-century singers are replaced by army camouflage. Most of these productions provide interpretations not so much of the early opera as such, but particularly of us, bringing our own existential fears and ambitions onto the stage, playing on our political sympathies and antipathies. But there also exists an opposite side. It finds expression in the manner of singing and instrumental playing which comes close to the norms of three and four centuries ago, i.e., historical performing practice, which in our conditions is perceived by everyone as exquisite, designed for the refined taste of the elite, and in this sense of the “aristocratic” listener, rather than the general masses. Thus, in many cases there arises a combination, which is paradoxical in its essence – an unreasonable duality. Interpretation of the essence of early Italian opera is becoming acutely relevant as the path for this art to regain its previously lost artistic integrity.