The "[" of the Other: . Opera and gender in Vienna 1900-1918 by CarDIa Frances Darwin Volume One Thesis submitted for the degree of PhD Department of Music, University of Sheffield July 2009 For Giles, Adam and Theo Contents Abstract.....•..•.•.•..•.••.....•........•....•..•..•..•..••..••••......•......•..•..•.••.............•...•••.......•..•.•• 1 Acknowledgements ...........•...........••..............•...•....•....••...•...••...••........•....•..........• 3 List of Abbreviations ...•••......•••..•••.••..•...•.•.•..•.....•...•.•......•••..•.••.•..........•..............• 4 Chapter One: Introduction ...•.....•......•••••••••.••••..•....•...•• ~ ...•.•.••••••••.•••.••••.•••••.•••..•.• 5 Chapter Two: Understanding Opera in Context .•.•.•.•••••••••••...•........•..••.•...•••..•• 9 Inrrod.uction ........................................................................................................ 9 Opera and Gender - an overview ....................................... ~ ............................. 9 Research Meiliod.ology .................................................................................... 17 Underl ying Issues ............................................................................................. 20 Conclusion ........................................................................................................ 40 Chapter Three: uDie Frauenfrage" - the gender discourse in early twentieth- cen tuty' Vienna ............•..........•..............•..••......................••....•.....•..••....•...••.......• 41 Inrroduction ...................................................................................................... 41 Women's rights, Women's roles ..................................................................... 45 Gender and dichotomy .................................................................................... 55 Women's autonomy: The "I" of ilie Ot:h.er ..................................................... 77 Chapter Four: Gorge grows up - resolving dichotomies in Zemlinsky's Der Traumgorge •.•.••.....•.••••..•...•••.•.•.•...•.•......•.•.•....••••••••••••.••••...•••••••.•...•••••••••••.••••••.•.• 84 Inrrod.uction ...................................................................................................... 84 Background ....................................................................................................... 87 Analysis ............................................................................................................. 95 Chapter Five: Power, gender and autonomy in Strauss' Salome •..•..•..•.•••.• 122 Introd.uction .................................................................................................... 122 Anal ysis ........................................................................................................... 128 Power, gender and autonomy ....................................................................... 149 Chapter Six: Schoenberg's Erwartung and the expression of the mind ••••• 157 Inrrod.uction .................................................................................................... 157 Anal ysis ........................................................................................................... 160 The "I" of ilie Oilier........................................................................................ 184 Chapter Seven: Marie Gutheil-Schoder - from score to performance •...•.•• 190 Inrrod.uction .................................................................................................... 190 Creating an autonomous character - from score to performance............... 192 Developing specific roles - power, gender and autonomy ......................... 202 The response of others - Gutheil-Schoder and the world of opera ........... 207 Conclusion ...................................................................................................... 216 Chapter Eight: Conclusion ............................................................................... 217 Bibliography ...................................................................................................... 227 Printed and on-line ......................................................................................... 22.7 Manuscript ...................................................................................................... 238 Scores ............................................................................................................... 238 Discography .................................................................................................... 239 Appendices: Musical examples and figures .................................................. 241 Appendix 1: Musical Examples and motifs for Chapter Four (Der Traumgorge) ................................................................................................... 243 Appendix 2: Musical Examples and motifs for Chapter Five (Salome) ..... 260 Appendix 3: Musical Examples and figures for Chapter Six (Erwartung) 291 Abstract The extraordinary richness of musical life in early twentieth-century Vienna coincided with an increasingly confident movement for the emancipation of Women. While these two areas have attracted considerable academic attention as separate phenomena, this thesis is the first to consider, in detail, connections between the two. In particular, it investigates the way that opera contributed to the discourse on gender in early twentieth-century Viennese culture. After a brief discussion of the existing literature on gender and opera, and of the methodology adopted, the thesis examines the discourse on gender in Vienna at this time, drawing on writings by a variety of authors. These represent a spectrum of attitudes to the women's movement, from those actively involved in it to those who strongly opposed it. The analysis identifies three main themes in the gender discourse: the way that power shapes relationships; the nature of gender difference; and the experience of autonomy, which is central to a person's sense of self. These are then used as a starting point in the investigation of the operatic life of the period. Three operas are used as case studies: Zemlinsky's Der Traumgorge, Strauss's Salome and Schoenberg's Erwartung. Detailed analysis of each libretto and score reveals how these operas reflect and contribute to the contemporary discourse on gender. It becomes clear that opera provides a particularly powerful way to explore a character's autonomy, through an expression of her internal life as she develops and changes. Finally, the way that ideas about gender appeared in operatic performance is discussed, through an analysis of the life, work and writings of the singer Marie Gutheil-Schoder. Her descriptions of her preparation of a role demonstrate a preoccupation with the internal life of the character, which is absolutely consistent with the themes developed in the rest of the thesis. 1 2 Acknowledgements In the time that I have been working on this dissertation, a very large number of people have helped me both intellectually and practically, and lowe them all enormous gratitude. At Sheffield University, Nicola Dibben has been a quite exceptional supervisor. Her interest in my ideas, practical help and intellectual inspiration were second to none, not to mention her ready sympathy and her patience with my flights of fancy. I am also indebted to Nigel Simeone and Caroline Bland for their interest in my research and their helpful and inspiring suggestions. Julie Brown at Royal Holloway gave me valuable advice on historical research methods, and I would also like to thank Oaire Taylor-Jay at Roehampton University for sending me her very interesting paper. In Austria I was enormously lucky to have the help of Kordula Knaus, who spent many hours helping me to decipher the more illegible parts of Marie Gutheil-Schoder's letters. Her kindness and generosity with her time and effort were outstanding. Rosemary Hilmar at the Austrian National Library gave me invaluable help in starting my research in Vienna, while at the Schoenberg Centre Therese Muxeneder went to a great deal of trouble to ensure that I had everything I needed. Further help came from Clemens H6slinger, who very kindly pointed me in the direction of the records kept at the Haus- Hof- und Staatsarchiv in Vienna, while Otto Hagedorn in Cologne was extremely helpful with information about sources for Der Traumgorge, as well as very kindly organising for me to have access to the new edition of the full score. Finally, I should mention the on-line German dictionary diet.ee, which proved invaluable when I was translating the German language references and sources for the thesis. In putting together the performance that forms the other part of this presentation, lowe an enormous amount to Ann Hodges, who devised the performance with me. I also want to thank Biba Lille-West and Mandy 3 Demetriou who helped me revive it in England. Annette Saunders provided the perfect accompaniment for the performance, and was very generous with her time in preparing it. Rob Hemus at the Drama Studio in Sheffield was also very generous with his time and skill in advising on lighting. More thanks are also due to Nicola Dibben, who ran the lights and the projector. Finally, my family and friends have been hugely supportive over the years, providing intellectual stimulation and practical advice as well as tea, sympathy and childcare. In particular I should mention my sisters Sophy and