Opera For Everyone: Episode 118 – A Midsummer Night's Dream by Benjamin Britten

Release Date: May 19, 2024

Introduction

In Episode 118 of Opera For Everyone, host Pat Wright teams up with guest co-host Kathleen Vanderwyl to delve into Benjamin Britten's opera adaptation of Shakespeare's A Midsummer Night's Dream. The episode provides an insightful exploration of the opera's background, characters, musical elements, and its adaptation from Shakespeare's original play.

Background on Benjamin Britten and the Opera

Pat Wright opens the discussion by highlighting Britten's intention behind choosing A Midsummer Night's Dream as his opera subject. Britten collaborated closely with his life and professional partner, Peter Pears, to adapt Shakespeare's play into a libretto, maintaining the essence of the original while infusing it with his unique musical perspective.

Pat Wright [01:07]: "Benjamin Britten's A Midsummer Night's Dream is a clear link between him and Henry Purcell, as Britten sought to restore the musical setting of the English language with brilliance, freedom, and vitality."

Kathleen Vanderwyl adds that this opera was her first experience with an English-language opera, noting the novelty and the initial challenge of acclimating to it.

Kathleen Vanderwyl [02:55]: "This is the first opera that I have seen that is in English, and it took some getting used to."

The hosts discuss Britten's broader contributions to English cultural life, including his role in establishing the Aldeburgh Festival and his efforts to make opera accessible to younger audiences through works like The Young Person's Guide to the Orchestra.

Characters and Their Roles

The episode delves into the main characters of the opera:

• Oberon: Portrayed as a countertenor, Oberon's otherworldly voice distinguishes him from other characters, emphasizing his role as the fairy king. Kathleen notes the significance of Britten writing this role specifically for Alfred Deller, a renowned countertenor.

  Kathleen Vanderwyl [14:31]: "Oberon is a countertenor... making him sound a little otherworldly, a little different."

• Titania: As the Fairy Queen, Titania is depicted as a coloratura soprano, embodying grace and authority. The dynamic between Oberon and Titania is central to the opera's plot.

• Puck: Unlike other characters, Puck is a spoken role, providing comic relief and clarity through his dialogue.

• Lysander, Hermia, Demetrius, and Helena: These noble mortals' relationships drive the human subplot, entwining with the fairy narrative.

• Bottom: The bumbling rustic whose transformation into an ass-headed figure provides humor and chaos within the story.

Musical Elements and Instrumentation

Pat and Kathleen discuss Britten's innovative use of instruments to differentiate characters and settings. For instance, the celesta is employed to evoke Oberon's presence, reminiscent of its iconic use in Tchaikovsky's Dance of the Sugar Plum Fairy.

Pat Wright [13:29]: "Britten made specific use of the celesta to evoke Oberon in particular."

The opera features distinct soundscapes for the fairy world versus the mortal realm, enhancing the audience's immersion. The boy's choir, directed by David Squibb, provides a whimsical and ethereal quality to the fairy characters.

Plot Summary

The hosts provide a comprehensive overview of the opera's plot, closely following Shakespeare's narrative while highlighting Britten's adaptations:

1. Opening Scene (00:22 - 05:09): The opera begins with Oberon and Titania in a marital spat over a changeling boy. Oberon's desire to control Titania's affections leads him to seek a magical flower's juice to manipulate her feelings.

2. Introduction of Mortals (05:08 - 27:59): The mortal lovers—Lysander, Hermia, Demetrius, and Helena—enter the enchanted forest, each grappling with unreciprocated love and societal pressures. Britten condenses Shakespeare's original five acts into three, streamlining character introductions and interactions.

3. Fairy Intervention (28:00 - 84:04): Oberon's plan to use the love potion on Titania inadvertently disrupts the mortal lovers' relationships, leading to chaos and confusion. Puck's misinterpretations exacerbate the situation, showcasing the opera's blend of comedy and magic.

4. Resolution (84:05 - 118:25): Oberon rectifies the enchantments, restoring the lovers to their rightful pairings. The opera concludes with multiple weddings, symbolizing harmony and the restoration of order in both the fairy and mortal realms.

Throughout the plot, Kathleen notes how Britten maintains fidelity to Shakespeare's language while adapting it to fit the operatic form.

Kathleen Vanderwyl [29:15]: "There's a lot of fidelity here to the structure of the play."

Themes and Interpretations

The episode explores themes of love, jealousy, and transformation, both literal and metaphorical. The use of supernatural elements serves as a catalyst for character development and resolution of conflicts.

Kathleen offers a unique interpretation of the changeling boy as a metaphor for the unfulfilled aspects of Oberon and Titania's relationship, suggesting deeper layers to the narrative beyond the surface-level comedy.

Kathleen Vanderwyl [93:05]: "This child represents that aspect of Titania and Oberon do not have children. It represents the failed aspect of their marriage."

Pat and Kathleen also touch upon the challenges of translating Shakespearean humor into opera, noting that the comedic elements may not always resonate as intended with the audience.

Kathleen Vanderwyl [30:53]: "Humor is just maybe harder to do when you're trying to do Shakespearean humor specifically and sing it."

Production and Performance Details

Kathleen shares her experience attending Atlanta Opera's production of A Midsummer Night's Dream, highlighting the director's creative choices, such as doubling the character of Puck to emphasize his magical abilities. The opera's staging, costumes, and the interplay between spoken and sung roles contribute to its accessibility and charm.

Kathleen Vanderwyl [11:36]: "One of my favorite choices the director made was actually to double the character of Puck... They did some cool acrobatic things with that."

The hosts also acknowledge the historical context of Britten's work, connecting his compositions to broader English cultural movements and his contributions to making opera more inclusive and engaging for diverse audiences.

Conclusion

Episode 118 of Opera For Everyone provides an enriching analysis of Benjamin Britten's A Midsummer Night's Dream, blending detailed plot summaries with insightful commentary on musical composition, character development, and thematic depth. Pat Wright and Kathleen Vanderwyl successfully demystify the opera, making it accessible and enjoyable for both opera aficionados and newcomers alike.

Kathleen encourages listeners to experience the opera firsthand, emphasizing its unique blend of humor, magic, and musical brilliance.

Kathleen Vanderwyl [112:53]: "Our mission is to make opera understandable, accessible, and enjoyable because we believe opera is for everyone."

Notable Quotes

• Pat Wright [01:07]: "There's a very clear link between these two composers as well as, in the case of these two operas, our source material."

• Kathleen Vanderwyl [14:31]: "Oberon is a countertenor... making him sound a little otherworldly, a little different."

• Pat Wright [13:29]: "Britten made specific use of the celesta to evoke Oberon in particular."

• Kathleen Vanderwyl [93:05]: "This child represents that aspect of Titania and Oberon do not have children. It represents the failed aspect of their marriage."

• Kathleen Vanderwyl [30:53]: "Humor is just maybe harder to do when you're trying to do Shakespearean humor specifically and sing it."

Further Listening

For those interested in exploring Benjamin Britten's works further, the hosts recommend attending live performances when possible to fully appreciate the operatic nuances discussed. Additionally, they suggest revisiting previous episodes for a more comprehensive understanding of Britten's contributions to opera.

About the Hosts

• Pat Wright: Host of Opera For Everyone, dedicated to making opera accessible and enjoyable for all audiences.

• Kathleen Vanderwyl: Co-host and contributor, also known for her blog Constructive Criticism, where she reviews and connects popular culture elements across various media.

Opera For Everyone airs Sundays from 9:00 a.m. to 11:00 a.m. Mountain Time on 89.1 KHOL in Jackson, Wyoming. Subscribe to the podcast on your preferred platform to access a rich collection of past episodes.