Considering that instrumental chamber music and song recitals are mainstays of the classical music world, whatever has happened to that “lost genre,” the chamber opera? Not to say that the art form no longer exists; new intimate works are being composed as we speak. Yet hundreds of classical singers roam the universe never having pondered a single note from this neglected genre. And a still greater number find the distinction between opera and chamber opera a path far too muddy to tread. Chamber opera can be an invaluable training ground for voices in virtually any stage of development. Chamber operas can be very inexpensive to produce, and can provide fabulous showpieces and impressive additions to a resume. Like all worthwhile pursuits, finding the right role for you (and a couple of your closest friends) can sometimes be a bit tricky, as the rules of supply and demand make titles hard to find. Start your search by avoiding three of the common misconceptions about chamber opera.
1. Chamber opera is strictly a 20th Century phenomenon: Although there has been a resurgence of the form, small, intimate operatic compositions exist in every period since the Baroque. Some names to look for include Arne, MÈhul, and Pergolesi.
2. Chamber opera offers no arias: Look at the examples given later – almost every character in both works enjoys plenty of melodic solo time. And, just like in “big” opera, a few snips and stops, and you have another fine audition selection.
3. Chamber opera has no plot: Some would say that chamber opera plots are actually superior to those of longer, grand operas, because the medium will not allow the composer to musically say “I love you” for 12,538 measures. But because these works are often intended for a more intimate audience, composers and librettists feel free to tackle subjects and scenes that deal with more specific personal and social issues.
Chamber Operas are likewise not always shorter, not always with a smaller cast or without chorus, and not always with the standard chamber orchestra. What they do offer is a great deal of freedom in staging and casting, on a shoestring budget if need be, an opportunity to find that “fits like a glove” role, and a musical experience for your audience that often leaves them wanting more, not wishing for less. Ready to get your feet wet? Try one or both of these works, each relatively easy to acquire, between 30 and 45 minutes, and in English. Neither is performed often enough.
The Wandering Scholar, written by Gustav Holst in 1929-30, is filled with delightful country melodies and a goodly bit of mischief, thanks to the Clifford Bax libretto. Holst did not see the work at its premiere just months before his death, and the current published score was edited in 1968 from the composer’s notes by his daughter Imogen Holst and her friend Benjamin Britten.
The harp and percussion parts are Britten’s contributions, and many of the tempo markings and stage directions emerged from hand-written notes by the composer. The cast list includes Louis, a farmer (baritone), his wife Alison (soprano, although a mezzo with a nice G can manage the tessitura), the scholar Pierre (tenor), and Father Phillipe (bass). The stage is set in 13th century France, where jovial Louis is sent to town for provisions so that Alison can prepare a feast of both supper and more earthly pleasures for herself and Father Phillipe. Shortly after the priest arrives and the seduction begins, Pierre arrives to sing for his supper, and while Alison is charmed by his tale, Father Phillipe chases him away without a scrap, eager to keep both the roast and the fair maid to himself. Just as the pair attempt to mount the ladder to the loft above, Louis returns unexpectedly, with Pierre in tow. Pierre tells another tale of the fine feast and Alison’s houseguest, now cowering under the straw, and is rewarded with his fill of the supper while Louis scares away the priest and scolds his naughty young wife. A very good piano reduction or full performance score is available from Faber Music Ltd. (F0012), and there is a 1999 recording of good quality available from Chandos Records Ltd. (CHAN 9734).
The Proposal was written nearly 60 years later (1987), and is a more challenging musical undertaking, but contains beautifully singable melodies and a well-conceived plot with jokes and nuances that actually work. Composed by Milton Granger, the story takes the 6 member all-female cast through the decision to accept or deny a proposal of marriage, under the guise of a Wall Street business meeting. The cast list includes Herself, the proposee (mezzo-soprano), and the personalities involved in the decision making process: Five-Year-Old (soprano), Statue of Liberty (soprano), Security Officer (soprano), Mother Teresa (mezzo-soprano), and Sensuous Woman (contralto). The constant debate among the parties makes for wonderful ensemble, yet each personality gets the opportunity to state her case in aria form, ranging from the adorable to the delightfully wicked. The work was originally written with piano accompaniment, but a chamber orchestra version does exist, along with a recording of the debut performance at Mill Mountain Theatre in Roanoke, Virginia. Scores and cassettes are available from Mr. Granger at 210 Harrison Street, Nutley, NJ 07110, by phone at (973) 667-6353, or via e-mail at mlgrange@concentric.net.
