Huh. Rufus Wainwright writes operas? Who knew? Well, I guess anyone who was even cursorily following his career knew. Apparently he's a huge opera enthusiast, which I never would have guessed, as his pop music does not sound at all opera-y.
This is inspired by Maria Callas. It's about an aging diva, Régine Saint Laurent, whose career abruptly stalled out six years prior when, while singing her signature role, her voice suddenly gave out in the middle of a big duet (her signature role is the lead in an opera about Eleanor of Aquitaine; I initially thought it might be a real opera--certainly seems like something Donizetti would write--but it's not). She's planning to mount a comeback, and a journalist, André Letourner, comes to her apartment to interview her. He's a big fan of hers and a tenor manqué himself. She finds him very charming, but when she tries to sing the duet with him, she breaks down in the same place as before. She has kind of a breakdown, so everyone (meaning her long-time butler and new maid) decide that he'll come back that evening. Anyway, things don't go well, she realizes that she can't sing after all, and when André (whom she's sorta-kind convinced herself she's in love with, returns with this fiancée, she is...sad (this seemed a little odd, since at least here he's pretty clearly coded as gay, but given the time he could easily be closeted). It happens to be Bastille Day, so she steps outside on her balcony to watch the fireworks and sees a parallel between the transience of them and her career.
Some critics have objected to this story on the basis that it's not dramatic enough; that there needs to be more conflict. But I don't know that I agree with that. It's true, I suppose, that there's no life-and-death drama like a Verdi opera, but...really, small-scale tragedy has its place as well. A totally internal conflict can still be apocalyptic: see The Passion According to GH or "Mad Girl's Love Song." Not that this is exactly on the levels of those, but I still think it works very well--and it's bolstered a lot by the really impeccable production from the Royal Swedish Opera, which absolutely nails the seventies look--in terms of setting, costumes, props, hairstyles--and a cast who really act the hell out of it. Nobody can have any objections to it.
But as for the music, which of course is inseparable from the drama: I have to admit, I was not familiar with Wainwright's career. But I listened to a random assortment of his songs on youtube, and I have to admit, I did not find them overly exciting. Perhaps I would warm to him if I gave him more of a chance, but what I heard seemed like pretty bland singer-songwriter stuff. I have to say, I think he should probably stick to opera, because in contrast to that, this rules pretty hard. Very unabashedly romantic music; beautiful and exciting. The troubled duet is particularly great. In the interview accompanying this, Wainwright names Janáček as someone he'd like to sound like; I regret to say, then, that this sounds absolutely nothing like Janáček--but what it does sound like is a very impressive talent that I'd like to hear more from. This opera was actually initially commissioned by the Met, but Peter Gelb rejected it because the libretto was in French and he wanted AMERICAN opera! This is America! Why do I have to press one for English?!? Very weird, but hey, his loss.
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