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A Study of Central Characters in Seven Operas from Australia 1988-1998 Anne Power University of Wollongong

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A Study of Central Characters in Seven Operas from Australia 1988-1998 Anne Power University of Wollongong University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1999 Voiced identity: a study of central characters in seven operas from Australia 1988-1998 Anne Power University of Wollongong Recommended Citation Power, Anne, Voiced identity: a study of central characters in seven operas from Australia 1988-1998, Doctor of Philosophy thesis, Faculty of Creative Arts, University of Wollongong, 1999. http://ro.uow.edu.au/theses/1761 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] VOICED IDENTITY: A STUDY OF CENTRAL CHARACTERS IN SEVEN OPERAS FROM AUSTRALIA 1988-1998 ANNE POWER A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy July 1999 Faculty of Creative Arts University of Wollongong II ABSTRACT Composers of Australian operas, in the decade from 1988 to 1998, have responded to social and political events through the medium of central characters. In each of the seven operas in the study, a character becomes the signifier of reflections on events and conditions that affect Australian society. The works selected are Andrew Schultz's Black River, Gillian Whitehead's The Bride of Fortune, Moya Henderson's Lindy - The Trial Scene, Richard Mills' Summer of the Seventeenth Doll, Alan John's The Eighth Wonder, Martin Wesley-Smith's Quito and Colin Bright's The Sinking of the Rainbow Warrior. These operas are studied in three groups to investigate issues that concern voices of women in the contemporary operatic genre, issues of cultural identity and issues of political protest. Grounding its readings of characters in the operas in theories of multiply constructed identity, the thesis contends that the central character in each opera represents a discourse, whether it be, for example, of alienation or justice. Primary sources for the seven operas include scores, librettos, recordings of performances and workshops, and interviews with the composers and librettists. Interviews, compositional notes and reports on performances are collected in the Appendices to the thesis. Comparative studies are made with operas in the repertoire in the exploration of dimensions in Australian opera in the 1990s. An argument that is consistently taken throughout the thesis is that the signs that musically manifest character aspects are semiotically decipherable. Using a range of methodological perspectives, the readings in the thesis demonstrate the power which accrues to authenticity of voice in contexts which are drawn from recent Australian experiences. Ill ACKNOWLEDGEMENTS I wish to thank my primary supervisor, Professor Andrew Schultz, who encouraged my research and writing in this study. In the development of this thesis, I wish also to acknowledge Professor Barry Conyngham for his inspirational presence at the University of Wollongong at the time of entering this study, David Vance who responded with consideration to an early draft and Associate Professor Stephen Ingham for his help in the final stages of preparation. To several colleagues across different institutions I express my gratitude. I am indebted to Dr Peter Dunbar-Hall, who offered insightful criticism with unfailing good humour. I also acknowledge the collegial support I received from Dr Sally Macarthur and I thank Jane Hobson from the Women's Research Centre at the University of Western Sydney for sharing ideas with respect to women's communication. I am grateful to Cathy Aggett who worked with me resetting musical examples used in the text. A study of this kind would have foundered without the generous co­ operation of the composers and librettists of the seven operas in this study. I acknowledge especially librettists Anna Maria Dell 'Oso, Judith Rodriguez and Amanda Stewart. To composers Colin Bright, Moya Henderson, Alan John, Richard Mills, Andrew Schultz, Martin Wesley-Smith and Gillian Whitehead 1 am very grateful for access to scores, compositional notes, letters to librettists and personal interviews. I also appreciate their providing permission to use score excerpts in this thesis. My thanks are extended to the following opera companies who provided access to scores and performance memorabilia which they hold in their libraries and collections: Opera Australia, the Victorian State Opera and Sydney Metropolitan Opera. Throughout my research 1 received assistance and advice from the librarian of the Australian Music Centre, Anthea Parker and I express my gratitude to her. I also wish to thank Frank Hill from Ward Library, University of Western Sydney Nepean. I acknowledge the assistance in refining ideas that came from giving papers at interdisciplinary conferences, especially the 1997 Australian Studies Conference. Finally I wish to thank my husband, Max Claxton, for his ever-present support. This thesis is dedicated with love to Max Claxton, Marjorie and Francis Power and Madeleine Balzer RSM V TABLE OF CONTENTS ABSTRACT ii ACKNOWLEDGMENTS iii LIST OF MUSICAL EXAMPLES IN CHAPTERS viii CHAPTER ONE INTRODUCTION 1 1. 1. 1 Multiple Identities 8 1. 1. 2 Interpreting Character 11 1. 2 Framework for Investigating Character as Representative of Discourse 16 1. 2. 1 Social Questions 18 1.2. 2 Line of Descent 21 1. 2. 3 Structures that Shape the Present 25 1. 2. 4 Myths and Subjects of Reflection 32 CHAPTER TWO VOICES OF THREE WOMEN 42 1. Miriam in Black River 42 2. Grazia in The Bride of Fortune 58 3. Lindy in Lindy - The Trial Scene 76 CHAPTER THREE FIRST REFLECTION 95 1. Maria Stuarda and Lindy 96 1. 1 Analysis: Lindy's Musical Language Giving Evidence 99 2. Peter Grimes and Black River 102 2. 1 Analysis: Miriam's Disclosure - Scene 8, Black River 106 3. Eugene Onegin and The Bride of Fortune 108 3. 1 Analysis: Grazia's Letter - Scene 6, The Bride of Fortune 111 CHAPTER FOUR VOICES, MEMORIES AND CULTURAL IDENTITY 117 1. Olive in Summer of the Seventeenth Doll 119 1. 1 Ensembles Revealing Olive's Identity 128 1. 2 The Duets for Roo and Olive 134 2. Alexandra in The Eighth Wonder 138 2. 1 The Story of the Opera House 141 2. 2 Alex's Story 146 CHAPTER FIVE SECOND REFLECTION 159 1. Der Rosenkavalier and Summer of the Seventeenth Doll 159 1. 1 Analysis: Trio - Act 1 Summer of the Seventeenth Doll 161 2. Don Carlos and The Eighth Wonder 163 2. 2 Analysis: Alex's Aria - Act 2 The Eighth Wonder 164 VI CHAPTER SIX VOICES OF PROTEST 167 1. Quito in Quito 167 2. Fernando in The Sinking of the Rainbow Warrior 179 CHAPTER SEVEN AT THE BORDER 191 1. A Sign of Dysfunctional Character 192 1. 1 Inversion and Inflection 198 2. Signs of Character Presented Mythically 201 2.1. 1 Tamino in Die Zauberflote 201 2. 1. 2 Siegfried in Siegfried 203 2.1. 3 Sadko in Sadfco 205 2. 2 Inversion and Inflection 206 3. The Question of Agency in Fernando and Quito 207 CHAPTER EIGHT CONCLUSIONS - OPERATIC DIMENSIONS IN AUSTRALIA IN THE 1990S 211 APPENDIX ONE (A) NOTES BY ANDREW SCHULTZ IN 1988 AND DISCUSSIONS 1993-97 (B) SCENE 8 of Black River (score) 222 APPENDIX TWO (A) INTERVIEWS WITH GILLIAN WHITEHEAD (B) ACT 1 SCENE 6 of The Bride of Fortune (score) 242 APPENDIX THREE REPORTS FROM THE NATIONAL FESTIVAL OF AUSTRALIAN THEATRE 1994 - Lindy THE TRIAL SCENE: PRESENTED AS A WORK-IN-PROGRESS 268 APPENDIX FOUR (A) INTERVIEW WITH RICHARD MILLS (B) ACT 1 SCENE 1 TRIO of Summer of the Seventeenth Doll (score) 271 APPENDIX FIVE (A) INTERVIEW WITH ALAN JOHN (B) ACT 2 SCENE 1 ALEX'S SET PIECE of The Eighth Wonder (score) 282 APPENDIX SIX (A) INTERVIEW WITH MARTIN WESLEY-SMITH (B) "I Am The Cock That Killed The King" oi Quito (score) 300 APPENDIX SEVEN (A) INTERVIEWS WITH COLIN BRIGHT AND AMANDA STEWART (B) EXCERPT FROM SCENE 1 of The Sinking of the Rainbow Warrior (score) APPENDIX EIGHT LIST OF OPERAS 1988-1998 NOT INCLUDED IN THIS STUDY WORKS CONSULTED viii LIST OF MUSICAL EXAMPLES Ex. 2.1.01: Black River - Chord associated with time. 43 Ex. 2. 1. 02: Black River - Chord associated with Black River andMiriam's motif. 44 Ex. 2. 1. 03: Black River - Miriam's first words. 45 Ex. 2. 1. 04: Black River - Motivic gesture referring to Miriam. 46 Ex. 2. 1. 05: Black River - Miriam's motif with text of accusation. 47 Ex. 2. 1. 06: Black River - Miriam's motif extended. 47 Ex. 2. 1. 07: Black River - Miriam's motif with text reasserting accusation. 47 Ex. 2. 1. 08: Black River - Miriam's motif - a climax. 47 Ex. 2. 1. 09: Black River - Miriam's motif associated with text of her father. 48 Ex. 2. 1. 10: Black River - Rain call one-bar patterns. 49 Ex. 2. 1. 11: Black River - Earth motto. 49 Ex. 2. 1. 12: Black River - Instrumental motif which answers Miriam. (Reduced score) 50 Ex. 2. 1. 13: Black River - The last time you called him here. (Reduced score) 50-1 Ex. 2. 1. 14: Black River - Judge. And the sins of the fathers. (Reduced score) 51-2 Ex. 2. 1. 15: Black River - Miriam and Judge in the final scene. 52 Ex. 2. 1. 16: Black River - Judge to Reg in the final scene. 53 Ex. 2. 1. 17: Black River - Sound patterns for arrival of the helicopter in Scene 9. 53 Ex. 2. 1. 18: Black River - The call to Miriam to "Come" in the final scene. 54 Ex. 2. 1. 19: Black River - Taken our children and our land.(Reduced score) 55 Ex. 2. 2. 01: The Bride of Fortune - The opening phrase of the Prologue 60 Ex. 2. 2. 02: The Bride of Fortune - Crazia's letter in the first scene.
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