University of Kentucky UKnowledge Theses and Dissertations--Music Music 2012 OPERA AND THE MODERN CULTURE OF FILM: THE GENESIS OF CINEMOPERA, ITS INTERTEXTUALITY AND EXPANSION OF OPERATIC SOURCE MATERIAL Yuell "Chuck" E. Chandler IV University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Chandler, Yuell "Chuck" E. IV, "OPERA AND THE MODERN CULTURE OF FILM: THE GENESIS OF CINEMOPERA, ITS INTERTEXTUALITY AND EXPANSION OF OPERATIC SOURCE MATERIAL" (2012). Theses and Dissertations--Music. 1. https://uknowledge.uky.edu/music_etds/1 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained and attached hereto needed written permission statements(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine). I hereby grant to The University of Kentucky and its agents the non-exclusive license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless a preapproved embargo applies. I retain all other ownership rights to the copyright of my work. I also retain the right to use in future works (such as articles or books) all or part of my work. I understand that I am free to register the copyright to my work. REVIEW, APPROVAL AND ACCEPTANCE The document mentioned above has been reviewed and accepted by the student’s advisor, on behalf of the advisory committee, and by the Director of Graduate Studies (DGS), on behalf of the program; we verify that this is the final, approved version of the student’s dissertation including all changes required by the advisory committee. The undersigned agree to abide by the statements above. Yuell "Chuck" E. Chandler IV, Student Dr. Everett McCorvey, Major Professor Dr. Lance Brunner, Director of Graduate Studies Title Page OPERA AND THE MODERN CULTURE OF FILM: THE GENESIS OF CINEMOPERA, ITS INTERTEXTUALITY AND EXPANSION OF OPERATIC SOURCE MATERIAL __________________________________________________________________ DISSERTATION __________________________________________________________________ A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the College of Fine Arts at the University of Kentucky By Yuell “Chuck” E. Chandler, IV Rome, Georgia Director: Dr. Everett McCorvey, Professor of Voice, Director of Opera, Lexington Opera Society Endowed Chair in Opera Studies Lexington, Kentucky 2012 Copyright © Yuell “Chuck” Edward Chandler, IV 2012 ABSTRACT OF DISSSERTATION OPERA AND THE MODERN CULTURE OF FILM: THE GENESIS OF CINEMOPERA, ITS INTERTEXTUALITY AND EXPANSION OF OPERATIC SOURCE MATERIAL The boundaries of opera, as in all art forms, are constantly being re-evaluated. This analysis examines one of the most recent developments in opera-the use of film as source material, and connections to the film world- through analyzing three operas: Austrian composer, Olga Neuwirth’s opera, Lost Highway, Chinese- American composer, Tan Dun’s opera, The First Emperor, and acclaimed American film composer, Rachel Portman’s opera, The Little Prince. Each of these works exemplifies the modern relationship of opera and film in different ways. To classify these newly film-influenced works, the term cinemopera is used in describing operas connected to or influenced by film. Analytical techniques and historical perspectives, as well as revealing how these three operas are associated with the film world through their composers, source materials, and styles are the tools utilized to establish the characteristics of cinemopera as an operatic subcategory. Also, a definition and discussion of intertextuality in these operas reveals not only their cinematic features, but their ties to common practices in music history. Lost Highway is one of the most intertextual works containing sound effects, electronic music, and drawing heavily upon the David Lynch film of the same name as its source material. The First Emperor is an interesting study in modern ethnomusicology and contains many links to film in its source material as well. The Little Prince has a different kind of intertextuality than the preceding two operas because its source material is a French children’s book. However, since its composer, Rachel Portman, is a very distinguished film composer, it represents many elements of style commonly found in cinemopera. Finally, opera as a business is changing due to its convergence with film. The visual aspect of opera productions is of increasing importance, as is a singer’s credibility in the role they are portraying. Singers must look their parts much more so now than even two decades ago. As cinemopera is explored herein and its effects on the business are discussed, so are the elements of style which clearly serve to classify an opera as cinemopera. KEYWORDS: Little Prince, Lost Highway, First Emperor, cinemopera, intertextuality Yuell E. Chandler, IV 17 January, 2012 OPERA AND THE MODERN CULTURE OF FILM: THE GENESIS OF “CINEMOPERA,” ITS INTERTEXTUALITY AND EXPANSION OF OPERATIC SOURCE MATERIAL By Yuell “Chuck Edward Chandler, IV Dr. Everett McCorvey Director of Dissertation Dr. Lance Brunner Director of Graduate Studies 17 January, 2012 Date ACKNOWLEDGEMENTS The following dissertation, in addition to being an individual work, represents the support of many other people. First, without the encouragement, support, inspiration, and input of my committee chair, Dr. Everett McCorvey, this project would never have happened. Special thanks to my entire DMA committee, Dr. Lance Brunner, Dr. Richard Domek, Dr. Angelique Clay, and Dr. Geraldine Maschio as well for kindly dedicating their time and efforts to help me through this process, and to Dr. Andrew Maske for his contributions and flexibility. The support of my colleagues, the administration, and my students at Shorter University is much appreciated. Were it not for their understanding, the difficulty of this project may have increased exponentially. Finally, but certainly not least of all, the support of my family in every aspect of my education meant the world to me, and helped make this possible. My mother encouraged me to go as far in my education as possible. My wife’s encouragement and patience was a pyrrhic necessity which she gave willingly. Thanks to each of you, and to the deceased and greatly missed Professor Gail Robinson who also saw me through a portion of this process and mentored me, pushing me to know what I bring to the table and constantly improve it. iii TABLE OF CONTENTS Title Page ............................................................................................................................. i ABSTRACT OF DISSSERTATION .................................................................................. ii ACKNOWLEDGEMENTS ............................................................................................... iii TABLE OF CONTENTS ................................................................................................... iv LIST OF FIGURES ............................................................................................................ v PART 1 ............................................................................................................................... 1 CHAPTER 1: Introduction: ................................................................................................ 1 CHAPTER 2: Olga Neuwirth’s Lost Highway: Thoroughly Modern Opera ................... 13 CHAPTER 3: Tan Dun’s The First Emperor: East Meets West in Cinematic Scope ...... 57 CHAPTER 4: Rachel Portman’s The Little Prince: A Film Composer writes Opera ...... 98 CHAPTER 5: ................................................................................................................. 135 Conclusion: ..................................................................................................................... 135 Coda: Other Trends in Modern Opera, its Links to Film and how the Business is Changing Due to the Big Screen .................................................................................. 139 Appendix 1: Set Theory Analysis in Tan Dun’s The First Emperor .............................. 142 Print License: G. Schirmer, Inc. ...................................................................................... 151 Print License: Boosey & Hawkes ................................................................................... 153 Print License: St. Rose Publishing .................................................................................. 154 BIBLIOGRAPHY: .......................................................................................................... 157 Primary Sources: ............................................................................................................. 157 Secondary Sources: