Music vs. Theater

Music vs Theater. What the heck do I mean by that? Is it a lawsuit? A wrestling match? A fight to the death? When I was pitching potential blog titles to my friends, some were confused by the implications of this particular one. After all, I’m trying to make works of music and theater, why would I want a title that makes it sound like they can’t work together?

Here.  Lemme splain…

Obviously, music and theater are separate things. And if you try to combine them in a single piece, they won’t necessarily work towards the same goal. They can operate on separate planes, like a form of macro counterpoint. Usually composers try to make the music act in tandem with the theater, illuminating nuances or internal states of characters, setting atmospheres, supporting the action. But it doesn’t always. How many musicals grind to a halt to make way for the dance number, or cram in a song that doesn’t advance the action one bit, but may sell an album? (I think I’m letting some of my preferences show through. That’s OK.  It’s a blog.)

Sometimes the music works against the theater due more to stylistic reasons. They’re different and sometimes incompatible languages.  Many audiences expect a degree of naturalism in their theater. Conversation on stage should sound like conversation in life. Sung theater immediately makes the conversation, well, less natural. The pacing of the action is altered. This isn’t always a bad thing, but it creates a challenge that must be addressed. In future posts we’ll take a look at different solutions through the eras and how well they’ve held up.

But perhaps it’s not so obviously true that music and theater are different things. After all, theater has innate music in its rhythms and sounds. And music relies on creating tension and resolution over time, a purely abstract form of drama or theater.

With Music vs Theater I’m interested in this overlap, the middle of the spectrum. The area where you’re not sure if  you’re experiencing the theater of music or the music of theater.

Some really great theater can happen when opera composers play with the conventions of the genre.

In the comment section of the “What’s Opera Doc” post, Eph brought up a great bit in Puccini’s Madama Butterfly. Pinkerton, the brash American lieutenant  interrupts his aria almost mid phrase to offer his guest a drink of  Milk punch or Whiskey.  It’s a funny and surprising moment of reality, and reminded me of another, even more extreme example of arioso interruptus.

Stravinsky actually presses pause on an aria and then restarts it half an hour later.

In Act II, Scene 3 of The Rake’s Progress, Baba the Turk, the hero’s new wife, enters a plate smashing tirade of jealousy.  Literally plate smashing.  It’s in the score.  (“Scorned! Abused!”) In the middle of a ridiculously extended vocal candenza, Tom reaches the end of his nerves and plops his wig over her face, causing her to freeze in place, mid-aria.

[audio:https://musicvstheater.com/wordpress/wp-content/uploads/2010/02/Rakes-Progress-Baba-Before.mp3|titles=Rake’s Progress Baba Before]

At the top of the next act, our now bankrupt hero’s properties are being auctioned off, including the still motionless Baba.  When this “unknown item” fetches the highest price by far, the auctioneer removes the wig and Baba springs to life, continuing the aria exactly where she left off a full 25 minutes earlier (depending on the length of intermission).  She continues her tirade, this time directed at the auction attendees. (“Sold! Annoyed!”)

[audio:https://musicvstheater.com/wordpress/wp-content/uploads/2010/02/Rakes-Progress-Baba-After.mp3|titles=Rake’s Progress Baba After]

That’s some pretty funny stuff.  (As opera goes.)  It should be pointed out that this opera was composed in 1948-1951, right around the juncture between modernism and post-modernism, which makes a lot of sense for those of you who for whom that sort of thing makes sense.  (See what I did there?)

(Excerpts from the London Digital recording with Riccardo Chailly and the London Sinfonietta.)

A friend of mine commented on Facebook that “the bulk of [his] generation’s exposure to classical music has been through Looney Toon cartoons.”  Upon reflection, I think he’s absolutely right.

A quick search shows that listverse has already compiled the “Top Ten Uses of Classical Music in Classic Cartoons” list for us. And who do you think topped that list?

Not much of a surprise, really. “What’s Opera, Doc”, the send-up of Wagner’s ring cycle.  (Ah.  “Kill de wabbit.”  Definitely something we can thank Wagner for.  Nazism, maybe not so much.)
Here’s an excerpt from around the 2:15 mark:
[audio:https://musicvstheater.com/wordpress/wp-content/uploads/2010/02/WhatsOperaDoc.mp3|titles=WhatsOperaDoc]

When I heard that bit, I was reminded of the mini-operas for the toddler set on Nick Jr. The Wonder Pets.
[audio:https://musicvstheater.com/wordpress/wp-content/uploads/2010/02/WonderPets.1.mp3|titles=WonderPetsTheme]

It’s interesting that both of these excerpts exploit one of opera’s great flaws (to great comic effect).  When you set text to music (particularly music from the classical period), you often end up needing to repeat yourself. The phrasing practically demands it. In both of these excerpts the same line is repeated several times in progressively higher registers to indicate increased tension.  To modern ears this sounds clunky, even silly. Hey Linny, instead of singing about the phone, just PICK THE DAMN THING UP! It’s a great example of the demands of the music working directly against the demands of the theater.

This gives me some ideas for future blog posts.  I expect we’ll be seeing more of these excerpts in the weeks to come…