Killing time: Contemporary representations of opera in British culture

Abstract

Recent debates about ‘high’ and ‘low’ culture and the perceived repositioning of such categories have had potentially profound implications for opera. British artist Sam Taylor-Wood’s video installation Killing Time (1994) provides a useful starting point from which to explore these polemics. By juxtaposing images of mundane daily life with a soundtrack drawn from Strauss’s Elektra, Taylor-Wood seems to present opera and ‘the everyday’ as irreconcilable. Yet, the perception of opera as highbrow has by no means been a historical constant in Britain. This article considers the extent to which opera may be regaining the ‘entertainment status’ it enjoyed for a period during the late nineteenth century, or whether its perception as an ‘elite’ product is more deeply ingrained in British culture than ever before. Killing Time’s critique of opera and the commentary it offers on voice, art as redemption, and the politics of participatory art are analysed and contrasted with the representation of opera in a more ‘popular’ medium, a reality television series in which members of the public were trained as opera singers. The article concludes that, while popular culture seems able to embrace opera, the more uneasy relationship today is that between opera and other forms of ‘high art’.

From “Management Divas” to “Crown Jewel”: Discursive representations of Finnish National Opera during the management crisis of 2007–2009

“…However, whereas earlier opera research in Finland has mainly focussed on operatic practices and, to some extent, their connections to national identity (see, for example, Hautsalo 2018Hautsalo & 2015Koivisto 2011;Heiniö 1999;Savolainen 1999;Lampila 1997), research on the cultural meaning of the national opera institution, and of the art form, is missing. Similarly, such an approach is underrepresented in international opera studies, although the connections between opera and society have recently attracted some interest, especially with a focus on historical periods (see, for example, Wilson 2019;Senici 2015;Lindenberger 2010;Johnson et al 2007;Wilson 2007). Attending this gap in research, this paper examines the socially constructed representations of a national opera institution in a contemporary Nordic welfare society.…”

Engagement, Participation, and Situated Learning in a Children’s Opera Chorus Program

“… 1. See A. Wilson (2007) for a discussion about contemporary perceptions of “high” and “low” culture. …”