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Books > Social sciences > Sociology, social studies > Gender studies > Women's studies
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Women in American Operas of the 1950s - Undoing Gendered Archetypes (Hardcover)
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Women in American Operas of the 1950s - Undoing Gendered Archetypes (Hardcover)
Series: Eastman Studies in Music
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The first feminist analysis of some of the most performed works in
the American-opera canon, emphasizing the voices and perspectives
of the sopranos who brought these operas to life. In the 1950s,
composers and librettists in the United States were busy seeking to
create an opera repertory that would be deeply responsive to
American culture and American concerns. They did not break free,
however, of the age-old paradigm so typically expressed in European
opera: that is, of women as either saintly and pure or sexually
corrupt, with no middle ground. As a result, in American opera of
the 1950s, women risked becoming once again opera's inevitable
victims. Yet the sopranos who were tasked with portraying these
paragons of virtue and their opposites did not always take them as
their composers and librettists made them. Sometimes they rewrote,
through their performances, the roles they had been assigned.
Sometimes they used their lived experiences to invest greater
authenticity in the roles. With chapters on The Tender Land,
Susannah, The Ballad of Baby Doe, and Lizzie Borden, this book
analyzes some of the most performed yet understudied works in the
American-opera canon. It acknowledges Catherine Clement's famous
description of opera as "the undoing of women," while at the same
time illuminating how singers like Beverly Sills and Phyllis Curtin
worked to resist such undoing, years before the official resurgence
of the American feminist movement. In short, they ended up helping
to dismantle powerful gendered stereotypes that had often reigned
unquestioned in opera houses until then.
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