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Analyzing Gender Inequality in Contemporary Opera

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Analyzing Gender Inequality in Contemporary Opera ANALYZING GENDER INEQUALITY IN CONTEMPORARY OPERA Hillary LaBonte A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS August 2019 Committee: Jane Schoonmaker Rodgers, Advisor Kristen Rudisill Graduate Faculty Representative Kevin Bylsma Ryan Ebright Emily Pence Brown © 2019 Hillary LaBonte All Rights Reserved iii ABSTRACT Jane Schoonmaker Rodgers, Advisor Gender inequality is pervasive in the world of performing arts. There are far more female dancers, actresses, and singers than there are male performers. This inequality is amplified by fewer numbers of roles for women. This document examines gender inequality in contemporary North American operas, including the various factors that can influence the gender balance of a cast, with focused studies on commissioning organizations and ten works that feature predominantly female casts. Chapter 1 presents the analysis of all operas in OPERA America’s North American Works database written and premiered from 1995 to the present. Of the 4,216 roles in this data, 1,842 (43.6%) are for female singers. Operas written by a female composer or librettist have 48% roles for female singers, operas with a female lead character have 51%, and intentionally feminist or female-focused operas have 53% roles for female singers. Chapter 2 considers ten companies devoted to the creation and production of contemporary opera in North America. Works premiered by these companies have an average of 47% roles for women, and companies with a female executive or founder are more likely to have a higher average. Companies that use language like “innovative” or “adventurous” in their mission statement are more likely to have greater female representation in the casts of their commissioned works. Chapter 3 discusses ten contemporary operas that feature at least 50% female casts in a wide variety of stories, with multi-layered female characters and diverse musical styles. The works profiled are Hildegurls Electric Ordo Virtutum (1998) by Kitty Brazelton, Eve Beglarian, Elaine Kaplinsky, and Lisa Bielawa, Amy Beth Kirsten’s Ophelia Forever (2005), Catherine Reid and Judith Lane’s The Yellow Wallpaper (2008), Ana Sokolović’s Svadba (2011), Errollyn Wallen’s ANON (2014), Kate Soper’s Here Be Sirens (2014), Kamala Sankaram and Susan iv Yankowitz’s Thumbprint (2014), Sean Ellis Hussey’s …for the sake of a narrative closure (2017), Ellen Reid and Roxie Perkins’s prism (2018), and Philip Venables and Sarah Kane’s 4.48 Psychosis (2018). These operas contain the kinds of female characters and female-focused stories lacking from the traditional repertoire. v For my dad, the original Dr. LaBonte, my mom, for her boundless support, and David, my favorite answer to the question “what’s next for you?” vi ACKNOWLEDGMENTS This document would not have been possible without the help of so many people. First, I would like to thank my advisor, Dr. Jane Schoonmaker Rodgers, for her consistent support and encouragement every step of the way. The members of my doctoral committee offered invaluable guidance throughout this process. Dr. Emily Pence Brown provided keen insight and helped shape the language of my research. Kevin Bylsma gave unwavering aid and encouragement, and Dr. Kristen Rudisill gave very supportive feedback. Dr. Ryan Ebright was instrumental in defining the path of my research. For this, I am extremely grateful. My colleagues in the doctoral program at Bowling Green State University have been a source of support, inspiration, and collaboration. I would like to extend my gratitude to them, with special thanks to the head of the program, Dr. Marilyn Shrude, and the members of my year, Mercedes Diaz, Henrique Batista, and Nick Zoulek. My dear friend Megan Ihnen has given me priceless feedback and aid over the years. I am also thankful to have the support of my family, especially for my sister Anna, my brother Allan, my sister-in-law Krystal, my niece Penelope, my aunts Liz and Karen, and my grandmother Yukie. I would not be where I am without all of them. I celebrate this accomplishment in honor of my mother, Beatrice Hawkins, and in memory of my father, Dr. Barry LaBonte, whose love and encouragement are always with me. I am thankful to carry this achievement into the future with my wonderful and caring fiancé David Wagner. This document is dedicated to them. vii TABLE OF CONTENTS Page INTRODUCTION………………………………………………………………………..... 1 The Conversation in Other Media .......................................................................... 8 Opera and the Bechdel Test .................................................................................... 10 Looking at the Numbers ......................................................................................... 12 Moving Forward .................................................................................................... 17 Limitations ............................................................................................................. 18 Chapter Outline ...................................................................................................... 20 CHAPTER 1. DATA SURVEY OF NORTH AMERICAN WORKS, 1995-PRESENT… 22 Methodology .......................................................................................................... 22 Results ................................................................................................................... 24 Key Trends ............................................................................................................ 25 Effects of Female Creators ........................................................................... 25 Intentionally Feminist Operas ...................................................................... 27 Premiering Organizations ............................................................................. 30 Year Subsets ................................................................................................ 36 Outreach/Educational Operas ....................................................................... 37 Voice Part Stereotypes ................................................................................. 38 Monodramas ................................................................................................ 38 Conclusion ............................................................................................................. 39 CHAPTER 2. SURVEY OF CONTEMPORARY OPERA COMPANIES ........................ 41 East Coast .............................................................................................................. 43 viii New York ................................................................................................... 43 Center for Contemporary Opera .................................................................. 46 American Opera Projects ............................................................................ 48 Beth Morrison Projects ............................................................................... 51 American Lyric Theater .............................................................................. 53 Experiments in Opera ................................................................................. 56 Other East Coast ......................................................................................... 57 Washington National Opera’s American Opera Initiative ............................ 58 Guerilla Opera ............................................................................................ 60 The Midwest .......................................................................................................... 61 Nautilus Music-Theater .............................................................................. 61 Canada ................................................................................................................... 63 Chants Libres ............................................................................................. 63 Tapestry Opera ........................................................................................... 65 Conclusion ............................................................................................................. 67 Women in Charge ....................................................................................... 65 Language of Intention ................................................................................. 71 CHAPTER 3. FEMALE-FOCUSED CONTEMPORARY OPERAS…………………… . 73 Ophelia Forever ...... ……………………………………………………………….. 76 Here Be Sirens………………………………………………………………………. 79 Svadba……………………………………………………. ..................................... 82 p r i s m………………………………………………….. ....................................... 85 4.48 Psychosis ....................................................................................................... 87 ix …for the sake of a narrative closure ....................................................................... 90 ANON .................................................................................................................... 93 The Yellow Wallpaper ............................................................................................ 95 Thumbprint .... ....................................................................................................... 98 Hildegurls Electric Ordo Virtutum ........................................................................
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