Neuwirth said that while opportunities and outlets for female composers had improved since she was studying three decades ago, the overall appetite for risk and investment in new music at major venues had diminished. One of the costumes for the Orlando opera. In London, the Royal Opera House has promised to engage more female directors and creative teams to stage classic works from new perspectives.Īll the key roles in creating Orlando were filled by women: Neuwirth wrote the libretto together with the playwright Catherine Filloux, the British director Polly Graham is in charge of staging the production, and performances will feature costumes designed by Rei Kawakubo, the founder of the fashion brand Comme des Garçons. In 2016, the Metropolitan Opera in New York staged its first opera written by a woman for more than a century, L’amour de loin by the Finnish composer Kaija Saariaho.
In the big, traditional opera houses, things are moving more slowly, though here too there are occasional attempts to redress the balance. Opera, which has been called the most misogynist art form owing to the propensity for terrible fates to befall female characters, is slowly changing, with more access for female composers and directors and an increasingly experimental trend involving new venues and formats. The role of Orlando’s child will be played by the transgender American cabaret artist Justin Vivian Bond, alongside a cast of classically trained opera singers. In Neuwirth’s 19-scene opera, the action will continue until the present day, the composer said. “In every human being a vacillation from one sex to the other takes place, and often it is only the clothes that keep the male or female likeness, while underneath the sex is the very opposite of what is above,” the author wrote in one of many passages about gender and sexuality. Orlando begins Woolf’s novel as a young man in Elizabethan England, and ends it as a 36-year-old woman in 1928, the year the novel was published. The Vienna State Opera opened in 1869 with the premiere of Mozart’s Don Giovanni.
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