Here are the reasons why most operas are performed in their original languages:
1. Simplicity. Major opera companies employ star performers from a whole bunch of different countries. Star power is supposedly a moneymaker (that is no longer true, but opera's powers-that-be are too conservative for their own good). As a company manager, you don't have to bother about troupe (team) issues, nor rehearsals, for that matter. On any given night, you have at your disposal a bass from Japan, a soprano from Italy, a tenor from Russia, a mezzo from Spain, a baritone from Arizona, and another baritone from Cuba, plus some extras from Mexico, France, and Germany. All of them know their parts in the original language (say, Italian). Few of them can even speak English. No need to practice. Because so many of today's stars have contracts with multiple companies, that Japanese bass will be singing the same part in Germany tomorrow night and in Poland next week. He won't have to learn it in German or Polish: German and Polish companies, too, use the original-language method. And so forth. Perhaps I shouldn't have said "simplicity." Rather, it is sloth, also known as laziness, that's to blame. According to the Catholic doctrine, sloth is one of the eight cardinal sins, but no matter.
2. Snobbery. Moderation is good for you. A bit of snobbery now and then wouldn't hurt. It is snobbery that keeps intelligent people from wearing exceedingly flashy clothes, uttering platitudes, reading overhyped books, watching TV, etc. Excessive snobbery, however, turns good folks with insecurity complexes into thoughtless machines. Thus, instead of saying that they don't know enough Italian (or German, or French, or Russian) to appreciate a three-hour-long performance and would much prefer listening to it in their native language, many potential opera buffs and experts repeat again and again the industry's maxims, i.e. that
a) Some of the value is lost when you translate an original libretto into a different language
b) A composer writes his music with a specific language in mind
c) English is not really suited for opera
All of which is vapid nonsense, of course. Here's why.
Opera texts present very little artistic value and would be totally worthless without the music. Libretti are NOT poetry. They are functional lyrics, i.e. lyrics that only have one function, which is to SERVE the music. If they were really poetic, they would only distract the listener. Even if they DID have some value, a lot more value (half of it, roughly) is lost when the listeners don't understand what the performers are singing. "A general idea" just doesn't cut it: there are too many nuances in opera music and action. Subtitles, titles, or supertitles don't cut it: they're distracting. To appreciate opera fully, you have to follow the story very closely.
No composer writes music with a language in mind. That's just horse manure, no more and no less. A composer writes opera music with certain VOWELS in mind. Those vowels are present in all human languages except maybe some Bushmen and Maori dialects. It would probably make sense to perform operas in their original languages in front of a Bushmen audience.
Peter Tchaikovsky INSISTED that his operas be translated when performed abroad. I believe he even had a hand in the German version of his "Queen of Spades." Why this same "Queen of Spades" is performed in Russian - in Germany as well as in the States - is therefore still a mystery.
For a long time British opera theatres performed opera in Queen's English. Russian opera theatres only switched to the original-language method twenty years ago. Seattle once did Richard Wagner's entire "Ring Cycle" in English, and the sky did not fall on their heads.
3. Stupidity. Some folks claim they don't understand the lyrics when opera is sung in English. It's just so much gibberish to them.
Well, all it takes, really, is listening to the same piece more than once or twice. There are only sixteen great operas out there, so attending the same ones repeatedly is not really a far-fetched idea. Folks listen to the same popular songs over and over again. You never hear anyone say, "No, I love that one, but I've heard it before, turn it off." By the third time you've listened to the English version of, say, "Aida," you'll know what's going on. By the tenth time you've listened to ANY opera in English, you'll ALWAYS know what's going on, in any opera performed in English. It's not rocket science. (Rocket science is not really rocket science either, for that matter, but that's a whole different story).
So, you see, there are no GOOD reasons to perform opera in languages good folks don't understand.
The point is you're being robbed, dear opera buff. The lazy/stupid/snobbish (take your pick) opera powers-that-be are willfully depriving you (a paying customer, mind you) of your sacred right to get the most out of a performance.
What to do?
In the long run - I don't know. Protest? March on the Met and Chicago Lyric with banners and slogans? Open independent opera periodicals and explain, explain, explain as patiently as you and I can?
IN THE MEANTIME, though, you still need to enjoy opera FULLY.
Well. You might want to get your hands on my "Getting Opera - for real" audio guide first (it would help you a lot); ultimately, however, you really should know an opera these days, before you see a live performance. Sad but true. Get a COMPLETE recording, which should include a full libretto in the original language as well as in English. Switch off the phone. Tell folks not to disturb you for the next three hours. Use headphones or earphones if there's a lot of "noise pollution" around. Open up the libretto. Start listening closely. Enjoy the jokes (there is a lot of humor in opera, in places you'd least expect it to be, ALL OF WHICH is lost on those who claim loyalty to the "original language" concept. Grasp the nuances. Empathize with the characters. Then do it all over again the following night. If the opera you're studying is one of the great sixteen, you'll be ready for your live experience. There's nothing like it in the whole world.
Download Ricardo's astounding "Getting Opera - become an opera expert in less than three hours," a unique audio guide.
Ricardo is also the author of fiction and non-fiction books, among them "A Fat Girl's Guide to Thinness and Happiness," "Jenna Jameson: the Robber Chief," "The Kept Women of New Orleans," "In Bed with the President," and others. All of his books are available on the Mighty Niche Books company site.
Source: www.a1articles.com
