Sara Wilén
Lecturer
Opera Nova : makt, kärlek, remix
Opera Nova : power, gender, remix
Author
Summary, in English
The ensemble Operaimprovisatörerna investigated ways of deconstructing images of gender and power in opera and opera improvisation performance, by changing roles and using different readings, such as realism, parody and movement. I initiated the project inspired by a theoretical vantage point of post-structural
feminism (Wilén, 2017, p. 17).
The project focused on "interchange of traditional roles and contrasting readings (such as realism and parody) of vocal scores, for addressing, challenging and deconstructing norms of power and gender in operatic repertoire performance" (Wilén, 2017, p. 17).
Musico-dramatic concept
Repertoire opera scenes by composers such as Bizet, Donizetti, Mozart and Puccini
were chosen. The vocal parts were to be studied by all singers, so that we could make
different interpretations in terms of vocal timbre and phrasing. This was also a
method for tracking the ‘natural’ habits we as singers have developed both in singing
and in listening. In the work, the singers - many for the first time - changed roles
with each other, trying out both new gender roles and voice Fach. Despite that all
have worked with opera and classical repertoire for many years, this was the very
first time to change into other vocal parts. (Wilén, 2017, p. 106)
The project was performed in three Swedish cities: Stockholm, Malmö and Vadstena. In each city, Operaimprovisatörerna arranged a stage conversation, inviting significant actors in opera, theatre, music and media. In our first stage conversation, two of the guests (Gunilla Brodrej and Göran Gademan) started a dialogue which ignited a fervent debate on opera and gender in Sweden during the spring of 2012. (Wilén, 2017, p. 106)
feminism (Wilén, 2017, p. 17).
The project focused on "interchange of traditional roles and contrasting readings (such as realism and parody) of vocal scores, for addressing, challenging and deconstructing norms of power and gender in operatic repertoire performance" (Wilén, 2017, p. 17).
Musico-dramatic concept
Repertoire opera scenes by composers such as Bizet, Donizetti, Mozart and Puccini
were chosen. The vocal parts were to be studied by all singers, so that we could make
different interpretations in terms of vocal timbre and phrasing. This was also a
method for tracking the ‘natural’ habits we as singers have developed both in singing
and in listening. In the work, the singers - many for the first time - changed roles
with each other, trying out both new gender roles and voice Fach. Despite that all
have worked with opera and classical repertoire for many years, this was the very
first time to change into other vocal parts. (Wilén, 2017, p. 106)
The project was performed in three Swedish cities: Stockholm, Malmö and Vadstena. In each city, Operaimprovisatörerna arranged a stage conversation, inviting significant actors in opera, theatre, music and media. In our first stage conversation, two of the guests (Gunilla Brodrej and Göran Gademan) started a dialogue which ignited a fervent debate on opera and gender in Sweden during the spring of 2012. (Wilén, 2017, p. 106)
Department/s
- Teachers (Malmö Academy of Music)
Publishing year
2012
Language
Swedish
Document type
Artistic work
Topic
- Music
Keywords
- opera improvisation
- power and gender
- critical performance
- classical singing
- artistic research
- Qualitative methods
Status
Published