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Melodramatic Voices: Understanding Music Drama

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Melodramatic Voices: Understanding Music Drama Melodramatic Voices: Understanding Music Drama Edited by Sarah Hibberd MELODRAMATIC VOICES: UNDERSTANDING MUSIC DRAMA ASHGATE INTERDISCIPLINARY STUDIES IN OPERA Series Editor Roberta Montemorra Marvin University of Iowa, USA Advisory Board Linda Hutcheon, University of Toronto, Canada David Levin, University of Chicago, USA Herbert Lindenberger, Emeritus Professor, Stanford University, USA Julian Rushton, Emeritus Professor, University of Leeds, UK The Ashgate Interdisciplinary Studies in Opera series provides a centralized and prominent forum for the presentation of cutting-edge scholarship that draws on numerous disciplinary approaches to a wide range of subjects associated with the creation, performance, and reception of opera (and related genres) in various historical and social contexts. There is great need for a broader approach to scholarship about opera. In recent years, the course of study has developed significantly, going beyond traditional musicological approaches to reflect new perspectives from literary criticism and comparative literature, cultural history, philosophy, art history, theatre history, gender studies, film studies, political science, philology, psycho-analysis, and medicine. The new brands of scholarship have allowed a more comprehensive interrogation of the complex nexus of means of artistic expression operative in opera, one that has meaningfully challenged prevalent historicist and formalist musical approaches. The Ashgate Interdisciplinary Studies in Opera series continues to move this important trend forward by including essay collections and monographs that reflect the ever- increasing interest in opera in non-musical contexts. Books in the series will be linked by their emphasis on the study of a single genre – opera – yet will be distinguished by their individualized and novel approaches by scholars from various disciplines/fields of inquiry. The remit of the series welcomes studies of seventeenth century to contemporary opera from all geographical locations, including non-Western topics. Other Titles in the Series Opera Indigene: Re/presenting First Nations and Indigenous Cultures Edited by Pamela Karantonis and Dylan Robinson Melodramatic Voices: Understanding Music Drama Edited by SARAH HIBBERD University of Nottingham, UK © Sarah Hibberd and the Contributors 2011 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Sarah Hibberd has asserted her right under the Copyright, Designs and Patents Act, 1988, to be identified as the editor of this work. Published by Ashgate Publishing Limited Ashgate Publishing Company Wey Court East Suite 420 Union Road 101 Cherry Street Farnham Burlington Surrey, GU9 7PT VT 05401-4405 England USA www.ashgate.com British Library Cataloguing in Publication Data Melodramatic voices: understanding music drama. – (Ashgate interdisciplinary studies in opera) 1. Melodrama–History and criticism. 2. Opera. I. Series II. Hibberd, Sarah. 782.1’09-dc22 Library of Congress Cataloging-in-Publication Data Melodramatic voices: understanding music drama / [edited by] Sarah Hibberd. p. cm. – (Ashgate interdisciplinary studies in opera) Includes bibliographical references and index. ISBN 978-1-4094-0082-0 (hardcover : alk. paper) – ISBN 978-1-4094-3398-9 (ebook) 1. Melodrama--History and criticism. I. Hibberd, Sarah. ML2050.M45 2011 782.109--dc22 2011010438 ISBN 9781409400820 (hbk) ISBN 9781409433989 (ebk) Bach musicological font developed by © Yo Tomita V Printed and bound in Great Britain by the MPG Books Group, UK. Contents List of Figures vii List of Tables ix List of Music Examples xi Notes on Contributors xiii Series Editor’s Preface xvii Acknowledgements xix List of Abbreviations xxi Introduction 1 Sarah Hibberd PART I MELODRAMA AS GENRE 1 Music in Pixérécourt’s Early Melodramas 15 Katherine Astbury 2 Operatic or Theatrical? Orchestral Framings of the Voice in the Melodrama Sept heures (1829) 27 Jens Hesselager 3 Reconstructing Greek Drama: Saint-Saëns and the Melodramatic Ideal 45 Elinor Olin 4 In a Woman’s Voice: Musical Recitation and the Feminization of American Melodrama 61 Marian Wilson Kimber PART II MELODRAMA ON THE OPERATIC STAGE 5 ‘Si L’Orchestre seul chantait’: Melodramatic Voices in Chelard’s Macbeth (1827) 85 Sarah Hibberd 6 Melodramatic Spectacle on the English Operatic Stage 103 Philip Carli vi Melodramatic Voices: Understanding Music Drama 7 Janáček and Melodrama 121 John Tyrrell 8 Dismembering ‘Expectations’: The Modernization of Monodrama in Fin-de-siècle Theatrical Arts 137 Jessica Payette 9 Opera for the People: Melodrama in Hugo Herrmann’s Vasantasena (1930) 159 Nanette Nielsen PART III MELODRAMATIC TRANSFORMATIONS 10 Berlioz’s ‘Roméo au tombeau’: Melodrama of the Mind 185 Violaine Anger 11 Be it [N]ever so Humble? The Narrating Voice in the Underscore to The Wizard of Oz (MGM, 1939) 197 Fiona Ford 12 The Voice-Over as ‘Melodramatic Voice’ 215 Jacqueline Waeber 13 Dismembering the Musical Voice: Mahler, Melodrama and Dracula from Stage to Screen 237 Jeremy Barham Bibliography 263 Index 283 List of Figures 3.1 Théâtre Antique, Orange. Source: Jules Formigé, Remarques diverses sur les théâtres romains à propos de ceux d’Arles et d’Orange. Extrait des mémoires présentés par divers savants à l’Académie des Inscriptions et Belles-Lettres, vol. XIII (Paris: Imprimerie Nationale, 1914), Plate II, facing p. 10. Reproduced with permission from the Charles Deering McCormick Library of Special Collections, Northwestern University Library 48 3.2 Cithara Player from the Pantheon at Pompeii. Source: Camille Saint- Saëns, Note sur les décors de théâtre dans l’antiquité romaine (Paris, 1886), facing p. 23. Reproduced with permission from the Charles Deering McCormick Library of Special Collections, Northwestern University Library 50 4.1 Publicity flier for JessieArmager Power, Redpath Chautauqua Collection, Special Collections Department, University of Iowa Libraries, Iowa City, Iowa 66 4.2 Title page of B. J. Fernie, Readings and Recitations for Winter Evenings (New York, 1895) 68 4.3 Emma Griffith Lumm,The New American Speaker, Elocutionist and Orator (1910), p. 32 73 6.1 Playbill for The Daughter of St Mark (1844). Sibley Music Library (Eastman School of Music, University of Rochester, New York) 108 6.2 Set design for Act II by the Messrs Grieve for The Daughter of St Mark (1844). Sibley Music Library (Eastman School of Music, University of Rochester, New York) 109 7.1 Melodrama version (VS2) of no. 3b in Janáček, The Beginning of a Romance, autograph (CZ-Bm, Janáček Archive, A 23.517) 130 8.1 Bruno Paul, Elf Scharfrichter Programme, date unknown (c.1900–1903) 154 This page has been left blank intentionally List of Tables 3.1 Sophocles, Antigone, quatrième épisode: le chœur, Antigone; plus tard, Créon. Saint-Saëns, Antigone, IX – 4e Episode 56 5.1 Lady Macbeth’s sleepwalking scene, Act III, scenes 4 and 5 94 7.1 Recitative and arioso numbers in The Beginning of a Romance 128 12.1 Bresson, Le Journal d’un curé: encounter between Doctor Delbende and the priest 232 13.1 Mahler components in the score of Godden’s ballet Dracula 245 13.2 Final scene of Act I: the demise of Lucy 248 13.3 Superimposed elements in final defeat of Dracula, 69′26″–72′28″ 260 This page has been left blank intentionally List of Music Examples 2.1 ‘Soyez moins cruel pour mon père!’ (Act II, third tableau, scene 7) 35 2.2 ‘Délivrez ma patrie!’ (Act III, sixth tableau, scene 4) 37 2.3 ‘Ces lumières? attends…’ (Act III, seventh tableau, scene 8) 39 2.4(a) ‘Mon Dieu! Soutiens mon courage’ (Act III, seventh tableau, scene 8) 40 2.4(b) Mlle d’Armans takes courage (continuation of previous passage) 40 2.4(c) Mlle d’Armans kills Marcel (continuation of previous passage) 40 2.5 ‘C’est moi qui l’ai tué’, censored passage, first eight bars (Act III, seventh tableau, scene 8) 41 2.6 Overture, first 11 bars 41 4.1 Frieda Peycke, Wishful Waiting (c.1947), A82.149, box 2, John Hay Library, Brown University, bars 47–54 80 4.2 Phyllis Fergus, The Usual Way (Chicago, 1914), bars 29–33 80 4.3 Phyllis Fergus, The Usual Way (Chicago, 1914), bars 39–41 81 4.4 Frieda Peycke, Husbands (Chicago, 1942), bars 38–41 82 5.1 Lady Macbeth’s sleepwalking scene, first part 96 5.2 Lady Macbeth’s sleepwalking scene, second part 96 5.3 Lady Macbeth’s sleepwalking scene, conclusion 97 6.1 Myles’s rescue of Eily in The Lily of Killarney 115 6.2 Final bars of The Lily of Killarney 116 7.1(a) Motif from no. 3b, Janáček, The Beginning of a Romance (VS2), bar 2 131 7.1(b) Motif from no. 3b, Janáček, The Beginning of a Romance (VS2), bars 5–6 131 7.2 Motif from no. 8b of Janáček, The Beginning of a Romance (VS2), bar 2 131 7.3 ‘Ať mám Tě, Tebe horoucí’ from Janáček’s Album for Kamila Stösslová (CZ-Bm, Janáček Archive, D 505 LJ), transcription by Mark Audus 135 8.1 Erwartung, string descents, bars 331–5 144 8.2 Erwartung, disjunct vocal and instrumental phrases, bars 358–64 145 8.3 Erwartung, celesta–harp duet, bars 382–7 147 xii Melodramatic Voices: Understanding Music Drama 8.4 Erwartung, convergence of predominant musical devices, bars 418–23 148 9.1 No. 18 ‘Arietta with Duet Recitativo’. Reproduced by permission of Boosey & Hawkes Music Publishers Ltd 174 9.1(a) Bars 609–617 174 9.1(b) Bars 622–8 175 9.1(c) Bars 632–41 176 9.1(d) Bars 642–52 177 9.2 No. 24 ‘Arioso, Choir, and Duet’. Reproduced by permission of Boosey & Hawkes Music Publishers Ltd 178 9.2(a) Bars 1510–15 178 9.2(b) Bars 1516–24 179 11.1 Transcription of ‘Crystal Gazing’ cue. Underscore to The Wizard of Oz (MGM, 1939) 206 11.2 ‘Over the Rainbow’ and ‘Home, Sweet Home’ quodlibet.
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