Three Letter Arias: Why Opera Still Loves Hand-Written Letters
Wednesday, November 07, 2012 - 01:27 PM
In an age of texting, Twitter and e-mail, the hand-written letter can seem like a relic of ancient times.
But on the opera stage, it is alive and well. "The idea of having an object which has been held in someone else’s hand shows their handwriting, shows the color of the ink, shows the fold and how many times it’s been opened and reopened and reread," said F. Paul Driscoll, editor-in-chief of Opera News. "I think that has an emotional impact that the clinical screen doesn’t really have.”
In this edition of Opera in Brief, Driscoll names three of his favorite letter arias in opera and why hand-written letters still matter.
1. “Letter Aria” from The Ballad of Baby Doe by Douglas Moore
Elizabeth McCourt – aka Baby Doe – writes a letter to her mother. In the beginning, she shares the news of the disillusion of her marriage to Harvey. We get her loneliness, her despair and the idea that she has nobody to talk to about this except her mother.
The opera is based on the true story of the young and beautiful Baby Doe Tabor whose marriage to Horace Tabor, a wealthy pioneer in 1880’s Colorado caused a major scandal. Many people think that Beverly Sills created the role. She did not. But it was a role that she was identified with throughout her life.
Beverly Sills singing “Letter Aria”:
2. “O mon cher amant” from La Périchole by Jacques Offenbach
This is an opera/operetta that most people don’t know and that’s unfortunate. It’s about a girl and a boy – Périchole and Piquillo. Périchole catches the eye of the Viceroy of Peru and receives an offer to be a lady in waiting in his palace. Before she goes, she writes a letter of farewell to Piquillo.
The wonderful American soprano Patrice Munsel did a production of La Périchole at the Met in the 1950’s. This recording was made around that time.
Patrice Munsel singing “O mon cher amant”
3. “Puskai pogibnu ya” from Eugene Onegin by Tchaikovsky
This is the ultimate letter aria/scene. Onegin enters the home of Madame Larina and her two daughters Tatyana and Olga. Tatyana who is the shy, bookish sister falls madly in love with Onegin. At night – alone in her room – she pours her entire heart out on paper. It’s a tour de force for any soprano who takes on the role and the tent pole of the entire opera.
Ana Netrebko will be singing a new production of Eugene Onegin at the Metropolitan Opera next season.