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Socialism and Feminism in East German Opera: the Cases of Director Ruth Berghaus and Composer Ruth Zechlin

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Socialism and Feminism in East German Opera: the Cases of Director Ruth Berghaus and Composer Ruth Zechlin SOCIALISM AND FEMINISM IN EAST GERMAN OPERA: THE CASES OF DIRECTOR RUTH BERGHAUS AND COMPOSER RUTH ZECHLIN A DISSERTATION SUBMITTED TO THE DEPARTMENT OF MUSIC AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Johanna Frances Yunker August 2012 © 2012 by Johanna Frances Yunker. All Rights Reserved. Re-distributed by Stanford University under license with the author. This dissertation is online at: http://purl.stanford.edu/wy750kv5448 ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Stephen Hinton, Primary Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Thomas Grey I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Heather Hadlock I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Jesse Rodin Approved for the Stanford University Committee on Graduate Studies. Patricia J. Gumport, Vice Provost Graduate Education This signature page was generated electronically upon submission of this dissertation in electronic format. An original signed hard copy of the signature page is on file in University Archives. iii ABSTRACT This dissertation focuses on the two most prominent female figures in the German Democratic Republic’s musical community, opera director Ruth Berghaus (1927– 1996) and composer Ruth Zechlin (1926–2007). In particular, it explores how their status as women and as East Germans informed their creative output, as well as their self-image as artists, the creative opportunities available to them, and expectations and responses to their art. Like all artists, they were required to adhere to the tenets of socialist realism. As women, they were expected to reject gender differences, in accordance with the gender-neutral worldview set forth by the GDR’s constitution. Drawing on a large amount of archival material, I reconstruct Berghaus’s and Zechlin’s relationships to GDR cultural and gender politics, showing how these changed through time. In doing so, my dissertation provides an in-depth examination of how political and gender tensions animated the musical environment and, more generally, the arts in the GDR. My study is divided into three parts, each of which contains two chapters. Part I centers on Zechlin’s and Berghaus’s works from the 1960s and 1970s. Chapter one examines Zechlin’s opera Reineke Fuchs (1968) and chapter two Berghaus’s stagings of Paul Dessau’s Einstein (1974) and Wagner’s Rheingold (1979), both with an emphasis on Zechlin’s and Berghaus’s relationships with socialist politics. In these works and their reception, gender issues did not play a central role, since Berghaus and Zechlin, as well as their audiences and critics, subscribed to state-supported view of gender equality. iv Part II focuses on the 1980s, a decade that saw a new generation of female artists who began to critique both the failings and the unintended consequences of state-mandated gender equality and the erasure of difference between masculine and feminine values and social roles. This strain of GDR “feminism” appeared namely in East German literature, particularly the works of renowned novelists Christa Wolf and Irmtraud Morgner. In the two chapters of this section, on Zechlin’s ballet La Vita (1985) and Berghaus’s stagings of Berlioz’s Les Troyens (1983) and Mozart’s Don Giovanni (1984, 1985), I show how Zechlin and Berghaus responded to the rise of this new, difference-validating type of feminism in GDR literature, in part by foregrounding themes of women’s sexual repression and exploitation, vulnerability to male violence, and motherhood in their works. In fact, Berghaus went so far as to borrow from Wolf’s novels. Reviewers situated both Berghaus and Zechlin in this new trend and started emphasizing their gender. Part III addresses selected works from the post-Wende period, namely Berghaus’s staging of Wolfgang von Schweinitz’s Patmos (1990) and Zechlin’s operas Die Reise (1998) and Elissa (2005). In this section, I illustrate how GDR politics and tensions between gender-neutral and feminine worldviews continued to shape their production and reception even after German Reunification. v ACKNOWLEDGEMENTS I first wish to thank my advisor Stephen Hinton for his long-standing encouragement of my interest in East Germany and for his detailed feedback on the dissertation. I must also thank my readers Thomas Grey, Heather Hadlock, and Jesse Rodin, for their scholarly advice, as well as the Stanford Music Department and Library for their support during my time at Stanford. In Berlin, I am grateful for the logistical and scholarly support I received from Dörte Schmidt and the Musicology Department at the Universität der Künste. Many archivists and librarians have helped me during my time in Germany. Konstanze Mach-Meyehofer at the Akademie der Künste in Berlin has been a constant support. I have been helped by Werner Grünzweig, Stephan Dörschel and the staff of the reading room at the Akademie der Künste, Jean Christophe Prümm at the Staatsbibliothek Berlin, Petra Söllner at the Robert-Havemann-Gesellschaft e. V., Roswitha Weber at the Theater am der Parkaue, Beate Vajen at the Stasi Archives in Berlin, and Teresa Blaszke at the Archiv Frau und Musik in Frankfurt. Many musicians, composers, and family members of Ruth Zechlin and Ruth Berghaus have been so generous with their time: Thomas Böttger, Thomas Buchholz, Jaroslav Bužga, Gail Gilmore, Walter Thomas Heyn, Peter Jarchow, Verena Kyselka, Helga Leverenz, Wolfgang von Schweinitz, Werner Tast, Carl Weber, and Stephen Winkler. I am grateful to Maxim Dessau for allowing me access to Ruth Berghaus’s archives. I am particularly thankful for the assistance from Claudia Paris, who shared vi Ruth Zechlin’s archives with me and whose support for my project has been instrumental. A number of grants allowed me to spend substantial time in Berlin to do the necessary archival research. Stanford’s Graduate Research Opportunity award and Diversity Dissertation Research Opportunity funds supported my travels around Germany. A grant from the German Academic Exchange Service (DAAD) enabled eight weeks of intensive German study in Berlin at the beginning of my project and three months of archival work in Berlin near the end of my research. I am indebted to Professor and Mrs. Theodore Geballe for endowing the Geballe Dissertation Prize that allowed me to spend a year at the Stanford Humanities Center. In addition to my cohort of fellows, Katja Zelljadt was a daily source of support and professional guidance. I thank my parents Patricia and Mark for their unwavering love and faith in me. My brothers, my grandparents, my extended family, and my family-in-law also encouraged me. I am especially grateful for the artwork done by Frank Yunker for this dissertation. I also could not imagine undertaking this project without the support of my friends, especially Courtney Hart, and my fellow Cold Warrior colleagues. In particular, I am grateful to Joy Calico and Laura Silverberg for their guidance and feedback. Finally, I thank my husband Emiliano Ricciardi, who has been by my side through this entire project. His support and feedback have been invaluable. vii TABLE OF CONTENTS Abstract.............................................................................................................. iv Acknowledgements............................................................................................ vi Table of Contents............................................................................................... viii List of Musical Examples.................................................................................. x List of Illustrations............................................................................................. xii * * * Introduction........................................................................................................ 1 Short Biography of Ruth Berghaus........................................................ 6 Short Biography of Ruth Zechlin........................................................... 12 Outline of Chapters................................................................................ 16 * * * Part I: Socialist Rhetoric in Music of the GDR................................................. 18 Chapter 1: Ruth Zechlin’s Reineke Fuchs (1968) and Socialist Realism.......... 27 Reineke Fuchs........................................................................................ 29 The Staging............................................................................................ 52 The Reception........................................................................................ 57 Chapter 2: Berghaus and GDR Politics: Einstein (1974) and Rheingold (1979)................................................................................................................. 63 Einstein................................................................................................... 64 Berghaus’s Staging..............................................................................
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