Cinema and opera have become intertwined in a variety of
powerful and unusual ways. "Vocal Apparitions" tells the story of
this fascinating intersection, interprets how it occurred, and
explores what happens when opera is projected onto the medium of
film. Michal Grover-Friedlander finds striking affinities between
film and opera--from Lon Chaney's classic silent film, "The Phantom
of the Opera," to the Marx Brothers' "A Night at the Opera to
Fellini's E la nave va."
One of the guiding questions of this book is what occurs when
what is aesthetically essential about one medium is transposed into
the aesthetic field of the other. For example, Grover-Friedlander's
comparison of an opera by Poulenc and a Rossellini film, both based
on Cocteau's play "The Human Voice," shows the relation of the
vocal and the visual to be surprisingly affected by the choice of
the medium. Her analysis of the Marx Brothers' "A Night" at the
Opera demonstrates how, as a response to opera's infatuation with
death, cinema comically acts out a correction of opera's fate.
Grover-Friedlander argues that filmed operas such as Zeffirelli's
Otello and Friedrich's Falstaff show the impossibility of a direct
transformation of the operatic into the cinematic.
Paradoxically, cinema at times can be more operatic than opera
itself, thus capturing something essential that escapes opera's
self-understanding. A remarkable look at how cinema has been
haunted--and transformed--by opera, "Vocal Apparitions" reveals
something original and important about each medium.
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