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| Bow ties are usually worn by men at Wexford Opera |
As I have previously said, I like to go to see a play and a performance every week. By performance I mean a live event of some kind – a play, an opera, even a football match. This week I have been going to the Wexford opera festival every night so I have been seeing plenty of performances. I have not seen many films, apart from on Netflix, and many of these have been of variable quality.
The operas have been of a high standard. As far as I can tell (which is not very far) the singing has been up to scratch and the stagings have been adventurous and original. I was not entirely convinced y how the Spanish civil war roped into Verdi’s Il Trouvere, which is the original Italian version of Il Troubadore and took place long before the war had begun. Verdi rewrote the opera for a French audience and had died before the war in Spain had begun.
Yesterday we went to Deidamia, Handel’s take of the start of the Trojan war with Achilles in a Mediterranean island where, disguised as a woman, where he falls in love with the princess there. I was so used to the Achilles-Patroclus story that I found it difficult to adjust to a new trans version, but it gave the legend a new slant at least. He is later uncovered as a man by Odysseus when he chooses some weapons instead of female trinkets.
Handel wrote quite a few operas in Italian, having been trained in it before he became a naturalised British citizen in 1717. In those days we welcomed people like Marx and Handel who were unwelcome or could not make a living in their native Germany. (Sadly, no longer.) We think of him as a composer of religious works like his Messiah or Water Music but he had written a lot of operas before he turned his hand to more sacred subjects.
Wexford has a tradition of reviving ‘lost’ operas, so we see a lot of works that we would not in otherwise more traditional settings. I admire them for it and, mainly because my partner loves opera, we make a point of going there in late October when the tourist season has ended and they have their annual opera festival. They even encourage (but do not enforce) the wearing of bow ties and dinner jackets for men attending the main theatre.
I have kept my house in London, which is the centre of the British tourist business and, when I am not working, often enjoy the theatre in the capital. London is one of the great cities in the world for theatre and I usually go to see a spoken word production, just occasionally an operatic one. Put simply, I prefer plays to operas, the spoken word to the sung aria. It is not something I am particularly proud of – it is just my preference.
Part of this is related to price. Opera tickets are expensive, whereas I manage to get a theatre seat of about £20-30, by using such things as the TodayTix app and restricting myself to the cheaper seats. I even make my decision occasionally based onprice, not going to The Lady from the Sea, but instead to Clarkston, a gay love story of dubious quality simply because the seats were cheper. (I may revise this decision when I get back to London.)
I sometimes go simply because I am curious about the theatre. I went to a matinee of Ragdoll, a play inspired by – bit not officially about - the Patty Hearst story, where she became a participant in robbing banks with the Symbionise Liberation Army, who had kidnapped and raped her. I learned that many of the followers of Charles Manson came from privileged backgrounds and been seduced by the certainty to ‘liberators’ like Manson.
Both Clarkston and Ragdoll were short plays without intervals, as was Mary Page Marlowe, about a fictitious American woman which was written by the actor Tracey Letts and starred Susan Sarandon and Andrea Risborough as the woman at different stages of her life. I will not deny that it was the star power of the actors and writer that drew me to the play. I am, when all is said and done, as much a star-fucker as anyone else.
I could not name many figures in the world of opera – a few singers like Willard White and Maria Callas, who are as much stars as their theatrical counterparts. Many opera goers will be as aware of the abilities of the performers and the intricacies of the plots as their theatre going equivalents, if not more so. Opera is almost made for the anorak tendency of some fans to get to know the ins and outs of the performers.
Going to the theatre, however, is probably a more results-based experience than the opera, where the high price of tickets coupled with the sense of occasion it generates, is more likely to result in a better reception for a traditional version than it possibly merits. For all the reputation of opera goers for expressing their disapproval, lots of this must come from the breaking of tradition at the opera, which is probably less tolerated than at the theatre.
Reinterpretation of, for example, Shakespeare is almost compulsory these days, leading to some eccentricities on the part of directors keen to reinterpret the bard in their own way. In the conservative world of the opera, you mess with tradition at your peril, as some directors have found out to their cost. Going to the theatre is fundamentally an intellectual exercise, while going to the opera is related to the occasion. This is why I prefer theatre to opera.
Edwin Lerner My other blog is diaryofatouristguide.blogspt.com






