Orientalism and the Operatic World

(Hardback)

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Western opera is a globalized and globalizing phenomenon and affords us a unique opportunity for exploring the concept of orientalism, the subject of literary scholar Edward Saids modern classic on the topic. Nicholas Tarlings Orientalism and the Operatic World places opera in the context of its steady globalization over the past two centuries. In this important survey, Tarling first considers how the Orient appears on the operatic stage in Britain, France, Germany, Russia, and the United States before exploring individual operas according to the region of the Orient in which the work is set. Throughout, Tarling offers key insights into such notable operas as George Frideric Handels Berenice, Giuseppe Verdis Aida, Giacomo Puccinis Madama Butterfly, Pietro Mascagnis Iris, and others. Orientalism and the Operatic World argues that any close study of the history of Western opera, in the end, fails to support the notion propounded by Said that Westerners inevitably stereotyped, dehumanized, and ultimately sought only to dominate the East through art. Instead, Tarling argues that opera is a humanizing art, one that emphasizes what humanity has in common by epic depictions of passion through the vehicle of song. Orientalism and the Operatic World is not merely for opera buffs or even first-time listeners. It should also interest historians of both the East and West, scholars of international relations, and cultural theorists.

Reviews

This study is based largely on Edward Saids work on Orientalism. The strength of the study is that Tarling approaches his topic primarily as a distinguished scholar of Southeast Asian history, secondarily as an aficionado of Western opera. His deep understanding of Orientalism allows him to express the complexity of globalization and globalization within an already complex art form. The long introduction provides a detailed multidisciplinary summary of the spread of opera within and beyond Europe. . . .[T]he explanation of the evolution of the genre itself is well researched and well documented; though not for the novice, it will be a good refresher for readers who are well versed in opera. Tarling provides no deep musical analysis, instead offering in-depth analysis of operas, grouping them thematically from the origins of the genre to modern contributions, and focusing on the libretti and performance history. The author bases his analysis largely on meticulously researched historical accounts and the scholarly works of others, grouping the operas together in new ways and considering them against what Said posits. Summing Up: Highly recommended. Upper-division undergraduates through faculty and professionals. * CHOICE *
[Tarling's] accounts of . . . librettos and creative backgrounds, as well as relevant performance history, have been thoroughly researched and thought through. As informed as it is informative, the result is a consistently stimulating read, full of artistic and cultural insightssome of them surprising. * Opera *

Author Bio

Nicholas Tarling is former professor of history at the University of Auckland, where he taught for nearly thirty years. A specialist in the history of Southeast Asia, he has published extensively on the regions history and culture. As a music aficionado, he has programmed broadcasts on opera for Radio New Zealand, reviews regularly for Opera magazine, prepares and conducts pre-concert talks, and writes concert program notes. He is the author of Choral Masterpieces: Major and Minor (2014).