A major new exhibition opened at the end of September at the Victoria and Albert Museum in London: Opera: Passion, Power and Politics. The first of the three qualifying terms needs little explanation as a potential subject; as the title of Peter Conrad’s book A Song of Love and Death (1987) has it, opera is popularly seen as the supreme dramatic embodiment of passion in its various forms. The art form evolved in the city courts of Mantua and Florence in late Renaissance Italy, with the first public opera houses appearing in republican Venice in the 1630s. Opera has never completely lost its connection to centres of power and influence, however egalitarian its later intentions. This is made manifest in many European cities, where pride of place is given to an opera house as a display of royal or civic authority and prestige. And not only in Europe, but the saga surrounding the opera houses that were situated in three different locations on the island of Manhattan tell us much about the society of the city, so eloquently articulated in the fiction of Henry James and Edith Wharton. The case for Sydney needs no explanation. The Janus face of power is, of course, politics, and opera has always been imbrued with the political.
Michael Halliwell studied literature and music at the University of the Witwatersrand in Johannesburg, at the London Opera Centre, and with Tito Gobbi in Florence. He has sung in Europe, North America, South Africa and Australia and was principal baritone for many years with the Netherlands Opera, the Nürnberg Municipal Opera, and the Hamburg State Opera singing over fifty major operatic roles, including several world premiere productions. He has served as Chair of Vocal Studies and Opera, Pro-Dean and Head of School, and Associate Dean (Research) at the Sydney Conservatorium. He is President of the International Association for Word and Music Studies. His publications include the monographs, Opera and the Novel (Rodopi: 2005); and National Identity on Contemporary Australian Opera: myths reconsidered (Routledge, 2018), as well as many chapters and articles. He still performs regularly and recent CDs include When the Empire Calls (ABC Classics, 2005); O for a Muse of Fire: Australian Shakespeare Settings (Vox Australis, 2013); Amy Woodforde-Finden: The Oriental Song-Cycles (Toccata Classics, 2014); That Bloody Game; Australian WWI Songs (Wirripang, 2015).
From the New Issue
Witness: An investigation into the brutal cost of seeking justice by Louise Milligan
When America Stopped Being Great: A history of the present by Nick Bryantby Andrew West