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Vocality and Listening in Three Operas by Luciano Berio

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Vocality and Listening in Three Operas by Luciano Berio Clare Brady Royal Holloway, University of London The Open Voice: Vocality and Listening in three operas by Luciano Berio Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Music February 2017 The Open Voice | 1 Declaration of Authorship I, Patricia Mary Clare Brady, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: February 1st 2017 The Open Voice | 2 Abstract The human voice has undergone a seismic reappraisal in recent years, within musicology, and across disciplinary boundaries in the humanities, arts and sciences; ‘voice studies’ offers a vast and proliferating array of seemingly divergent accounts of the voice and its capacities, qualities and functions, in short, of what the voice is. In this thesis, I propose a model of the ‘open voice’, after the aesthetic theories of Umberto Eco’s seminal book ‘The Open Work’ of 1962, as a conceptual framework in which to make an account of the voice’s inherent multivalency and resistance to a singular reductive definition, and to propose the voice as a site of encounter and meaning construction between vocalist and receiver. Taking the concept of the ‘open voice’ as a starting point, I examine how the human voice is staged in three vocal works by composer Luciano Berio, and how the voice is diffracted through the musical structures of these works to display a multitude of different, and at times paradoxical forms and functions. In Passaggio (1963) I trace how the open voice invokes the hegemonic voice of a civic or political mass in counterpoint with the particularity and frailty of a sounding individual human body. Un re in ascolto (1983) presents the open voice in the multitude of sounding, singing and performative voices of the opera house tradition, their potential aesthetic and interpersonal capacities, and their construction in each individual listening encounter. Altra Voce (1999) frames the open voice in the complex interactions of voice with written text, and their seemingly paradoxical intersections with time, location and memory. I consider the usefulness of this model of the open voice in musicological terms, and review the importance of looking to musical practice, both historical and current, to inform our constantly evolving understanding of the human voice, and its place and role in music. The Open Voice | 3 Contents Acknowledgements .................................................................................................................... 5 Introduction ................................................................................................................................ 6 The ‘Open Voice’ – A Thesis .................................................................................................. 9 Musicology, Opera Studies and the Voice ......................................................................... 13 Beyond musicology: the ‘corporeal turn’, performance studies ...................................... 30 and sound art ........................................................................................................................ 30 Musicology and the ‘vocal turn’ – The present state of play ............................................ 35 Chapter 1 .................................................................................................................................... 38 Berio and the voice ............................................................................................................... 43 Old traditions, ‘new vocality’ ............................................................................................... 56 Sequenza III, the voice, and music scholarship ................................................................. 59 Chapter 2 .................................................................................................................................... 71 Voice, body, and the Italian literary neoavanguardia ....................................................... 83 Gruppo ’63, l’Opera aperta, and Berio’s musical language ............................................... 89 Passaggio: Staging the ‘open voice’ ..................................................................................... 97 1) The individual and the crowd .................................................................................... 100 2) Capitalism, consumerism and culture ..................................................................... 105 3) Religion, society and power ....................................................................................... 115 Conclusion ........................................................................................................................... 121 The Open Voice | 4 Chapter 3 .................................................................................................................................. 122 Scholarship on Un re in ascolto and the question of voice ............................................ 127 1) The open voice, character and diegesis in Un re in ascolto ....................................... 131 ‘A complex web of sources’ ............................................................................................ 133 Blurred character and diegesis ...................................................................................... 137 2) Deconstructing vocal technique in Un re in ascolto: interrogating the ‘text’ of the voice ..................................................................................................................................... 142 Types of vocal delivery in Un re in ascolto .................................................................. 146 Parody of vocal technique .............................................................................................. 150 Conclusion ........................................................................................................................... 168 Chapter 4 ................................................................................................................................. 170 Altra Voce (1999) ................................................................................................................ 180 Cronaca del Luogo (1999) .................................................................................................. 184 Electronics ........................................................................................................................... 188 1) Voice’s ‘liveness’ .......................................................................................................... 197 2) Presence and Sense .................................................................................................... 209 3) Interior Voice and ‘voice-object’ ............................................................................... 214 Conclusion ........................................................................................................................... 222 Chapter 5 Conclusion ......................................................................................................... 223 Where are we now? ............................................................................................................ 223 Final Words ......................................................................................................................... 226 Bibliography ............................................................................................................................ 230 Appendix I – CD/Recording of Altra Voce Performance ................................................... 254 The Open Voice | 5 Acknowledgements The ideas for this thesis had their first stirrings way back in the late 1990s, as I watched young bands and musicians in the gigs and clubs of Dublin, and have taken a long and circuitous route since then, via Edinburgh, Drogheda and London, through folksong, rock gigs, opera choruses and church choirs, through face to face chats, phone connections and skype conversations, to find their way finally into the pages of this dissertation. Distilling all of this into a readable form would not have been possible without the unfailing patience, support and guidance of my supervisor Julian Johnson, to whom I am ever grateful. My studies in music have been made possible by the generosity of the Student Awards Agency for Scotland, and the Arts and Humanities Research Council, and by my unstinting benefactors, Myles and Maeve Brady. For intellectual guidance, insightful suggestions and invaluable practical help at all stages of my studies, thanks are also due to Lois Fitch, Fabrice Fitch, John Hails, Christel Philp and Paul Wynne-Griffiths, Amy Bauer, Björn Heile, Francesca Placanica, Jane Alden and the Vocal Constructivists, the staff of Royal Holloway department of music, particularly Julie Brown, Rachel Beckles Willson and Stephen Downes, and the music department at Edinburgh Napier University. For the help of all kinds over the years of study from my Royal Holloway friends - the patient listening, discussions, gig and opera companionship, help with house-moving, reading, critique, proofing, commenting and encouraging - endless thanks to Annika Forkert, Ester Lebedinski, Stephanie Vos, Sam Blickhan, Matt Laube and David Melnick. Unflagging support came too from my friends and family whose faith, advice and constant encouragement
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