Axel Englund 
Deviant Opera 
Sex, Power, and Perversion on Stage

The first book to use subversive sexuality as a lens through which to provocatively view opera in the 21st century.


Imagine Armida, Handel’s Saracen sorceress, performing her breakneck coloraturas in a black figure-hugging rubber dress, beating her insubordinate furies into submission with a cane, suspending a captive Rinaldo in chains from the ceiling of her dungeon. Mozart’s peasant girl Zerlina, meanwhile, is tying up and blindfolding her fiancé to seduce him out of his jealousy of Don Giovanni. And how about Wagner’s wizard, Klingsor, ensnaring his choir of flower maidens in elaborate Japanese rope bondage?

 

Opera, it would appear, has developed a taste for sadomasochism. For decades now, radical stage directors have repeatedly dressed canonical operas—from Handel and Mozart to Wagner and Puccini, and beyond—in whips, chains, leather, and other regalia of SM and fetishism.
Deviant Opera seeks to understand this phenomenon, approaching the contemporary visual code of perversion as a lens through which opera focuses and scrutinizes its own configurations of sex, gender, power, and violence. The emerging image is that of an art form that habitually plays with an eroticization of cruelty and humiliation, inviting its devotees to take sensual pleasure in the suffering of others. Ultimately,
Deviant Opera argues that this species of opera fantasizes about breaking the boundaries of its own role-playing, and pushing its erotic power exchanges from the enacted to the actual.

Inhaltsverzeichnis

List of Illustrations

Acknowledgments

Preface


Introduction. Staging Deviance 

1. Opera and Sadomasochism

2. Sex in Excess:
Rinaldo, Alcina, and the Contemporary Baroque

3. Schools of Libertinage:
Don Giovanni with Sade

4. In-House Allegories: Enactment and Actuality in
Parsifal and
Tosca

5. More or Less Human:
Wozzeck,
Lulu, and the Soprano Conductor

Epilogue. The Actuality Effect and Opera’s Quest for Authenticity


Notes

Works Cited

Index

Über den Autor

Axel Englund is Professor of Literature at the Department of Culture and Aesthetics, Stockholm University, and author of Still Songs: Music In and Around the Poetry of Paul Celan.