Opera in the United States dates to the 18th century.[1]

History

Colonial era

The first opera known to have been performed in the American colonies was the ballad opera Flora, which was performed in Charleston, South Carolina in 1735.[2][3] Later in the century, The Beggar's Opera was performed in New York City in 1750.[4] This continued the trend of the popularity of ballad operas.[4]

Opera in New Orleans began prior to the Louisiana Purchase, with the first recorded opera being a performance of André Grétry's Sylvain in May 1796.[5]

The 18th century laid the foundation for the operatic tradition that would thrive in the United States in the subsequent centuries. Despite initial challenges and a limited scope, the interest in opera endured, paving the way for the expansion and diversification of the art form in the 19th century.[6]

European tours and emergence of American companies

During the 1800s, European opera companies embarked on tours across prominent cities in the United States, introducing timeless masterpieces to American spectators. Memorable shows played a significant role in the increasing appeal of opera. The emergence of American opera companies, such as the Academy of Music in New York City (1854) and the Boston Academy of Music (1853), marked a transition towards establishing a domestically nurtured operatic heritage. Opera in the 19th century became a cultural cornerstone, influencing literature, art, and societal norms. It played a role in shaping the cultural identity of growing cities, with the Metropolitan Opera, founded in 1883, emerging as a major institution.[7]

20th century

The 20th century saw the rise of the "truly American" opera, characterized by drawing upon distinctly American themes, settings, and musical styles, such as jazz and gospel music.[8] In this sense, the first American operas emerged in 1937, with the premieres of Virgil Thomson’s Four Saints in Three Acts and George Gershwin’s Porgy and Bess.[8]

The American Indian opera also emerged in the early 20th century, as both Native American composers and librettists, such as Zitkala-Ša (Yankton Dakota) and non-Native composers and librettists drew on Native American characters, stories, and music to create new operas.

After World War II, the Ford Foundation began financially supporting the New York City Opera, in an attempt to promote more new American operas.[9]

In the second half of the 20th-century, the number of American opera companies continued to grow, but operas written by American composers and librettists were often overlooked, receiving fewer performances and premieres.[9] In the mid-1980s, a collaboration between Opera America, the National Endowment for the Arts, and the Rockefeller Foundationbegan, in hopes of reinvigorating the opera scene, particularly encouraging the creation and performance of American-written operas.[9] The collaboration was seen as a success, particularly because of its outreach to a younger audience; additionally, technology now made it even easier to provide subtitles at performances, allowing for better comprehension of performances.[9]

American composers and global recognition

During the 20th century, American composers such as Samuel Barber, Gian Carlo Menotti, and Leonard Bernsteinemerged and gained worldwide recognition for their remarkable contributions to opera. Their works showcased a sense of confidence and individuality in American operatic expression. American conductors, directors, and performers, such as Arturo Toscanini and James Levine, left an indelible mark on the global opera scene, solidifying the reputation of the Metropolitan Opera as a leading institution. The American Opera Society (founded in 1951) played a crucial role in commissioning and promoting new American works, contributing to the global operatic repertoire.

21st century

The American opera scene has witnessed a surge in diversity during the 21st century, as various companies have embraced a broad spectrum of repertoire. Opera festivals and events, such as the Santa Fe Opera Festival and the Glimmerglass Festival, have emerged as platforms for showcasing innovation, experimentation, and the vibrant array of voices within the operatic tradition.[10]

The U.S. has become a hub for opera education, with institutions such as the Juilliard School[11] and the Curtis Institute of Music fostering the training of aspiring opera professionals. The Metropolitan Opera's Lindemann Young Artist Development Program continues to nurture emerging talent. Opera's influence on American culture persists as it tackles modern-day concerns through inventive performances and partnerships.[12]

See also

Further reading

  • Ken Wlaschin (24 September 2009). Encyclopedia of American Opera. McFarland, Incorporated, Publishers. ISBN 978-0-7864-4596-7.
  • Opera, entry in "The United States Encyclopedia of History", Volume 13
  • Dizikes, John (1993). Opera in America : A Cultural History. New Haven: Yale University Press. p. 611. ISBN 0300061013.

References

  1. ↑ Giorgio Bagnoli (1993). The La Scala Encyclopedia of the Opera. Simon and Schuster. pp. 295–. ISBN 978-0-671-87042-3.
  2. ↑ Scott, Bruce (2011-05-20). "'Flora' — An 18th-Century British Invasion". NPR.
  3. ↑ Evenden, Michael (2011). "Flora's Descent; or Hob's Re-Re-Re-Resurrection". Eighteenth-Century Studies. 44 (4): 565-567. doi:10.1353/ecs.2011.0024. S2CID 162366714.
  4. 1 2 Snowman, Daniel (January 1, 2010). "Opera in America: New World Overtures". History Today. Retrieved 2023-12-08.
  5. ↑ Bentley, Charlotte (2017). "The Race for Robert and Other Rivalries: Negotiating the Local and (Inter)National in Nineteenth-Century New Orleans". Cambridge Opera Journal. 29 (1): 94 - 112. doi:10.1017/S0954586717000064. S2CID 149376338.
  6. ↑ "American Opera". Library of Congress, Washington, D.C. 20540 USA. Retrieved 2023-12-08.
  7. ↑ "Before HD, the Met Tour Brought Opera to the US and World | Operavore". WQXR. 2016-07-29. Retrieved 2023-12-08.
  8. 1 2 Hutchins-Viroux, Rachel (2004-05-01). "The American Opera Boom of the 1950s and 1960s: History and Stylistic Analysis". Revue LISA (Vol. II - n°3): 145–163. doi:10.4000/lisa.2966. ISSN 1762-6153.
  9. 1 2 3 4 Smith, Patrick J. (1998-09-27). "A New Birth for American Opera". The New York Times. ISSN 0362-4331. Retrieved 2023-12-08.
  10. ↑ "Escape the heat with opera at Santa Fe and Glimmerglass". Dallas News. 2018-07-25. Retrieved 2023-12-08.
  11. ↑ "Opera Studies - Artist Diploma". The Juilliard School. Retrieved 2023-12-08.
  12. ↑ "OPERA America's Commitment to Equity, Diversity and Inclusivity". Opera America. Retrieved 2023-12-08.
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