rara avis
by Douglas Messerli
Walter Braunfels (based loosely on the play by Aristophanes) Die Vögel (The Birds) 2009
On April 11, 2009 my companion
Howard and I attended the Los Angeles Opera premiere of composer Walter
Braunfels's The Birds, a opera
performed as part of their "Recovered Voices" series devoted to
bringing attention to "lost operas," operas banned by the Nazis and
neglected since.
Braunfels was certainly not the typical banned artist. Although
part-Jewish, Braunfels had converted to Christianity after serving in World War
I, an experience which transformed his view of life. The opera, begun before
the War and finished after, premiered in Munich in 1920 and received at least
50 performances over the next few years. With its Wagnerian and Strauss-like
harmonies, and its restatement of Germanic Romantic values, the opera, indeed,
might have nicely served the Nazi cause had it not been that Braunfels was
adamantly anti-fascist, refusing to write an anthem for Hitler. His music,
accordingly, was labeled as "Degenerate" (Entartete Kunst), and he was removed from his position as
co-director of the Hochschule für Musik Köln (the Cologne Academy of Music);
Braunfels waited out World War II in Switzerland, returning to a post-War world
in which his music appeared as old-fashioned and completely out of touch with
its time.
In Aristophanes’ work, however, the building of the great city brings on
a plague of visitors, each satirizing an aspect of Athenian society; Good Hope
in the ancient version of the play is all but lost as Pisthetairos, one by one,
mocks and wittily dismisses his "enemies," and, even outfoxing Zeus,
marries the figure who translator William Arrowsmith describes as "Miss
Universe."
From the evidence of his Act I, Braunfels may have originally intended
to more closely follow Aristophanes, but Act II of his opera diverts the focus
of the work away from Loyal Friend's grand schemes by having Good Hope fall in
love with the song and being of the Nightingale, resulting in one of the most
memorable of the opera's duets between tenor Brandon Jovanovich and soprano
Désirée Rancatore. He further imbues Cloudcukooland with Utopian possibilities
by adding a marriage ceremony and dance between Miss Dove and Mr. Pigeon
(Yvette Tucker and Seth Belliston).
The terrifying storm of lightning Zeus reigns down upon the upstart
kingdom reduces the birds and humans involved to the twittering, fearful
creatures they had been at the beginning of the work. The Utopian world sought
by Good Hope and Loyal Friend has been destroyed, perhaps Braunfels's
presentiment that the Weimar Republic would not survive. He would not be the
first German-language writer to predict the dangers that lay ahead; two years
after the premiere of The Birds,
Austrian writer Joseph Roth wrote a scathingly realistic portrait of the
conspiracies of the radical right in his novel, The Spider's Web.
Yet Braunfels' work, with Good Hope's final insistence that his
encounter with nature has changed him, healed him perhaps, an experience that
will remain with him forever, merely reiterates the Germanic Romanticism that
lay behind so much of the Nazi ideals. And in that sense, the dream of a
militaristically-determined city-state, as presented in Braunfels' conception,
may be a likely desire of another generation.
Los Angeles, April 16, 2009
Reprinted from USTheater, Opera, and Performance (April 2009).
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