On Operatic Mothers
May 30, 2007
Opera composers have not been
kind to mothers. There are plenty of bad mothers in opera, but good ones are
hard to find. Think of Gertrud in Hansel und Gretel—is there a mother
in greater need of a lesson in child psychology? Poor Gioconda—she
has to sacrifice herself in a love triangle because her rival, Laura,
once saved Gioconda’s blind mother, La Cieca. Look at the surfeit of
suicidal mothers (Suor Angelica and Butterfly), or downright homicidal
ones (Medea, Azucena, Marguerite, Fricka—ok, so she is a stepmother
to Siegmund...). The Dyer’s Wife in Die Frau ohne Schatten would “sell
her shadow”, meaning renounce motherhood—for wealth and beauty.
Is Norma a good mother? Not a chance—she was going to kill her own
children so they wouldn’t suffer? An unacceptable solution by
any standards! Erda gives birth to all the valkyries and the Norns,
but Wagner portrays her as singularly lacking in maternal instincts. In
sixteen hours of the Ring, she spends zero stage time with her daughters,
preferring to sleep her time away!
Yes, the opera stage is littered
with demented, dysfunctional, or otherwise dumped-upon moms. You can
say opera composers create drama at the expense of motherhood. This is
in sharp contrast to how operatic fathers are portrayed. With some exceptions,
they are kindly, benevolent, and forgiving (Peter in Hansel und Gretel,
Simon Boccanegra, and really almost any father in Verdi)
My vote for the model operatic
mother is the long-suffering Rosa Mamai of L’Arlesiana, a verismo
opera by composer Francesco Cilea. Rosa spends the whole opera worrying
about the welfare of her two sons, particularly the wild Frederico. She
puts all her energies into getting him to see the light. She sings her
only aria , “Esser madre è un inferno”, a lament on the trials of
motherhood. But what does the ungrateful Frederico do? He breaks his
mother’s heart by jumping out the window!
As for a favorite piece to be sung
by mothers—I would pick Wiegenlieder from Brahms to Schubert. But my
favorite has to be Richard Strauss’ Wiegenlied. Is there a more sublime
melody, especially when the singer is the incomparable Jessye Norman
?
Joseph So
Parmi mes mères préférées
dans l’opéra, je citerais Jenufa et je vais m’expliquer ici brièvement.
Pour moi une mère idéale pour
le théatre ou l’opéra doit incarner un personnage riche en émotions,
susceptibles d’explorer les facettes antagonistes de celle qui est
à la fois la mère et l’épouse, la personne convoitée et la victime.
Jenufa remplit tous les critères: son extrême beauté (surtout quand
elle est jouée par Karita Matila!) attise les amours rivaux de Laca
et de Steva. Le premier la blesse au couteau, le second la trompe et
la laisse tomber pour la fille du maire. En tant que mère, la présence
de son enfant va soutenir le drame de l’opéra. Tiraillée entre son
amour pour Steva, dont l’enfant porte le nom et les règles que la
Kostelnicka lui impose, Jenufa se révèle une mère victime. Son amour
maternelle, sa tendresse et sa dévotion ne font pas l’ombre d’un
doute (n’est-ce pas aussi Jenufa qui a appris à lire à Jano, le
jeune berger?). Son désespoir à l’annonce de la mort de son fils
s’inscrit dans la série des Mater Dolorosa qu’ont illustrée les
peintres à travers les âges. L’acmé de tout l’opéra est sans
aucun doute atteint avec cette scène où Jenufa prie la Vierge Marie,
une autre mère célèbre de l’histoire... La correspondance entre
les deux est inévitable.
Stéphane
Villemin
I have to admit that my favourite
mother in opera is Klytemnestra in Richard Strauss’Elektra. At first
this may seem a surprising choice because I’m sure that this particular
mother’s maternal milk would have curdled in the mouths of her children
! Klytemnestra demonstrates few redeeming human features: She arranges
the murder of her husband, Agamemnon, has driven her son Orestes into
exile, and seems intent on driving her daughters, Elektra and Chrysothemis,
to distraction or madness. They say that you reap what you sow, so it
seems only fitting that Orestes should return and ally himself to the
vengeful Elektra in order to kill Mummy.
While it is true that my favourite
operatic mother has no maternal instincts or human character traits,
it is also true that she does have several of the most stirringly dramatic
scenes in all of opera (the duet with Elektra still makes me shudder).
This is motherhood on an epic—or operatic—scale!
Richard Turp
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