Nineteenth century opera, often thought of as old-fashioned and obsolete, is definitely not on a list of trendy music for the modern age.
The chairs of UCLA’s musicology department and comparative literature department said they hope to change that perception.
Starting tonight, maestro James Conlon of the L.A. Opera, in conjunction with UCLA’s musicology and comparative literature departments, will present a series of three lectures, titled “Romantic Opera in Three Acts: Struggle, Success and Mastery in the works of Verdi and Wagner,” on Giuseppe Verdi and Richard Wagner, two of the most influential opera composers of the 19th century. The event will take place over three nights at the Hammer Museum and also marks the 200th anniversary of the composers’ births.
Making his debut with the Metropolitan Opera in New York, Conlon has since relocated to Los Angeles, where he holds the position of director at the L.A. Opera. Renowned for his interpretive advances in the classical music world, Conlon is regarded as the premier opera conductor of today, said Robert Fink, chair of UCLA’s department of musicology.
The lectures will explore the significance behind the works of Verdi and Wagner and the musical impact the composers had on the growth of opera as an art form through a history-based discussion comparing the composers’ countries of origin.
Famous for being two of the most prolific composers of the 19th century, Verdi and Wagner, through elaborate plots and epic melodies, turned the opera into an everyday pastime for people of all ages and status, said Kenneth Reinhard, an associate professor of English and comparative literature at UCLA.
“Opera was, in the 19th century, by far the most popular art form in Europe not just for the rich; people knew the melodies and bought the sheet music,” Reinhard said. “People went every night. … The credit is due to Verdi and Wagner because they made the opera an exciting and thrilling experience for everyone.”
Fink said Conlon is sure to surprise audiences with his fresh approach to the history of Italian and German opera.
“In the olden days, Wagner wanted nothing to do with Italian opera, and in Italy, they were very suspicious of German opera, and this is true up to the 20th century. There was no intersection between the two,” Fink said. “It’s only someone like Conlon that can move back and forth between the two worlds. What will be interesting is seeing Conlon’s perspective on how the two styles complement each other.”
To supplement the lectures, Conlon will use musical examples related to his lecture topic to help audiences compare the two composers’ musical styles and lyrical content.
Efrain Kristal, chair of UCLA’s department of comparative literature, said Conlon’s use of musical samples assists listeners with applying the theme of his lectures to a concrete performance.
“(Conlon) centers the lecture around a series of topics and shows examples not from a single performance, but several recordings in order to get a sense of what a performance and its variations can be,” Kristal said. “He pulls from the finest examples from a variety of different recordings to illustrate the main point he makes in his lectures.”
In addition to the lectures, Conlon will host a master class that brings together opera students from UCLA and the L.A. Opera on a fourth day.
Reinhard said the master class requires students to prepare and perform pieces in a different setting than they would normally be accustomed to.
“(Graduate students from UCLA and L.A. Opera) will have prepared different arias, or songs, and they’ll come in a situation where (they will perform in) public,” Reinhard said. “Conlon will basically coach them on their pieces and give them suggestions such as, ‘How about you try it this way?’”
Reinhard said the master class is sure to reach out to not only UCLA, but the greater Los Angeles community as the class is free and open to the public.
“You learn so much about music when you see this master class, and it’s one of the most exciting things that’s happening,” Reinhard said. “It’s very interactive and everyone, both the students and the audience, will appreciate opera much more.”
As the program is a special event that features a historical side of opera not usually shown to audiences, Kristal said he hopes the audience grows to think of opera as relevant in the modern age and, ultimately, as a fun everyday pastime.
“It takes one set of skills to be a great conductor, but it takes another set of skills to communicate musical knowledge to the public,” Kristal said. “My sense is that Conlon is a very generous human being and musician, and what he wants are two things: He wants to engage in a modern-day dialogue with the UCLA community and share his knowledge of two of the greatest opera composers of all time.”