{"id":103810,"date":"2016-10-18T11:56:14","date_gmt":"2016-10-18T15:56:14","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=103810"},"modified":"2016-11-21T13:12:26","modified_gmt":"2016-11-21T18:12:26","slug":"let-no-one-sleep","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/10\/18\/let-no-one-sleep\/","title":{"rendered":"Let No One Sleep"},"content":{"rendered":"

\u201cNessun dorma,\u201d Donald Trump, and the best and worst of fans.<\/em><\/p>\n

\"Scene<\/a>

The hero of Turandot<\/i> lurks behind the opera\u2019s icy princess.<\/p><\/div>\n

Ever since Jacopo Peri<\/a> wrote Euridice <\/em>(1600, the earliest extant European opera) to celebrate the marriage of Henri IV of France and Maria de\u2019 Medici, opera has been ripe for political interpretation, partisanship, and misappropriation by its makers and its fans. Unfortunately, one of opera\u2019s most fervent, prominent boosters used Richard Wagner\u2019s music for anti-Semitic propaganda in Germany in the thirties\u00a0and forties. Opera fans who aren\u2019t Nazis\u2014especially, perhaps, Jewish musicians\u2014sometimes feel a little embattled about our fan community alliances and image; defensively, we latch onto more congenial fellows like hard-core Wagnerite W. E. B. Du Bois<\/a>, who attended performances of Lohengrin <\/em>and the Ring <\/em>at Bayreuth. <\/em>Or the ten-year-old fan who listened to Marian Anderson<\/a>\u2019s 1939 Lincoln Memorial concert on the radio, later wrote about it for a high school speech contest<\/a> (\u201cthere was a hush on the sea of uplifted faces, black and white, and a new baptism of liberty, equality and fraternity\u201d), and married a classical singer, Coretta Scott (who said of the New England Conservatory of Music, \u201cThis<\/a> is where I knew I was supposed to be<\/a>\u201d). Or Juilliard-trained pianist Nina Simone, whose opera fandom would leave an indelible mark on Porgy and Bess<\/em><\/a> and The Threepenny Opera<\/em><\/a>.<\/em><\/p>\n

Then Donald Trump joined our fan club. Last November, the fact\u00a0that his rally sound track featured the late Luciano Pavarotti singing the aria \u201cNessun dorma<\/a>\u201d (\u201cLet no one sleep,\u201d from Giacomo Puccini\u2019s opera Turandot<\/em>) was just a weird frisson troubling opera Twitter. By July, when\u00a0the Pavarotti family argued<\/a> that Pavarotti\u2019s \u201cvalues of brotherhood and solidarity\u201d were \u201centirely incompatible\u201d with Trump\u2019s worldview, none of us could ignore the aria\u2019s message anymore: \u201cVincer\u00f2!\u201d I will win!\u00a0<\/em><\/p>\n

Some fans welcomed Trump: one commented<\/a>\u00a0on the Free Republic message board that the \u201cNessun dorma\u201d campaign video<\/a> \u201ctap[ped] into the emotion of the Trump phenomenon. And beautifully.\u201d Others disavowed any association with the man, marshaling our resources to distance him from opera, to distance ourselves from him\u2014anything<\/em> to keep him from gaining legitimacy through\u00a0opera. We pooh-poohed opera\u2019s political impact. Or we condemned Puccini, Turandot<\/em>, and the whole art form as inherently fascist<\/a>: \u201cNessun dorma,\u201d we said, was an apt campaign choice, coming from a composer ensnarled with Mussolini (who admired Puccini), and exhorting strong, mindless (fascist<\/a>!) emotions in listeners. And we dissed Trump: he wasn\u2019t a \u201creal\u201d fan who\u2019d understood opera\u2019s menacing appeal all too well but a vulgar parvenu capitalizing on opera\u2019s cachet.<\/p>\n

I loved the vitality of these responses even as I winced at the classist gatekeeping, which does more to exclude new audiences than to discourage millionaires at the box office. I understand the rage that would drive us even to disown our passion for the music, because Trump represents everything we think art\u2014and this country\u2014shouldn\u2019t be. But I\u2019m troubled by the suggestion that we should relinquish opera entirely to the reactionaries, as though they had a monopoly on its power and import\u2014as though art weren\u2019t a continually renegotiated and renewed practice. I\u2019m afraid, too, that in our despair, we might come to accept the dangerous proposition that art\u2019s meanings can ever be fixed, absolute, or pure.<\/p>\n

*<\/p>\n

Puccini\u2019s Turandot<\/em> is, among other things, a misogynistic, Orientalist spectacle set in a fairy-tale China where women wield too much executive power. In \u201cNessun dorma,\u201d the tenor vows to marry and conquer the icy princess, Turandot\u2014who\u2019s been rampaging against men in memory of an ancestor who was raped and murdered. Rejecting the hero\u2019s claims on her, Turandot cries, \u201cWould you have me in your arms by force, reluctant, seething?\u201d and, over and over, harrowingly, \u201cDon\u2019t look at me like that!\u201d<\/p>\n

Opera, and the love of it, can have wild, excessive effects on both its creators and listeners, thwarting any predictable alignments of pleasure and conviction. As an Asian woman who was once raped by a man who\u2019d accused me of emotional impenetrability, I find Turandot<\/em>\u2019s plot repulsive. Listening to it again in the context of the election, I\u2019m disconcerted to find the music as sumptuous, lush, and thrilling as it is disturbing. Not everybody wants to perform the labor of loving art that doesn\u2019t love you back, and there\u2019s a great deal to be said for jettisoning the canon. But flawed art\u2014and what art isn\u2019t?\u2014belongs not only to those who\u2019d never question it but to those marginalized artists and fans whom Trump would exclude and crush, who\u2019ve never enjoyed the luxury of believing in the canon\u2019s unassailability, who\u2019ve already made stupendous efforts of reassessment and reinvention with old works and been inspired by them to create new stories for new voices. Maybe, someday, they\u2019ll produce a Turandot<\/em> that burns down rape culture and Orientalism.<\/p>\n

In the meantime, we\u2019re all stuck together in the Family Circle, trying to get surprised out of what we presume art can offer, resisting the certainty of easy answers, and struggling through the messy, painful realities of aesthetic and political accountability. We walk past the name KOCH<\/small>, emblazoned on Lincoln Center, to hear an opera about Gandhi. We get our minds blown by the fact that there\u2019s an opera<\/a> about Ginsburg and Scalia. We come to a full stop, horrified, before Dylann Roof, the Mother Emanuel AME Church shooter, comforting himself by playing an opera cassette<\/a> in his car. And stop again, in grief, with Dr. Gregory Hopkins, the artistic director of Harlem Opera Theater, who told me that, in the wake of the Charleston massacre, his church choir sang in an AME church whose singers knew congregants at Mother Emanuel. \u201cWe didn\u2019t know, at the time we set up this tour, the kind of pall that would be over that church and community. God put us in a place where people needed it.\u201d<\/p>\n

Opera has facilitated terror and violence, daring us to quit it. It\u2019s also inspired the strong, visceral emotions of healing, hope, empathy, outrage, dissent, and justice. Its meanings are never inert. We\u2019re meant to quarrel with them and be staggered by beauty we can sometimes hardly countenance, much less resolve. Shocked out of both good conscience and the illusion of mastery, we might repurpose \u201cNessun dorma<\/a>\u201d for our own vigils: continuing to quarrel with opera and with Trump, remaining vigilant against complacency, bigotry, violence, and walls. Let no one sleep.<\/p>\n

This is<\/em>\u00a0Alison Kinney<\/em>\u2019s third piece for<\/em>\u00a0Songs to the Moon<\/a>, an exploration of fandom and how the music, art, and artifacts of opera transform cultures and desires.<\/em><\/em>\u00a0Alison<\/em>\u00a0is the author of\u00a0<\/em>Hood\u00a0and a\u00a0correspondent<\/em> for the\u00a0<\/em>Daily.\u00a0Her writing has appeared online at<\/em>\u00a0Harper\u2019s, Lapham\u2019s Quarterly Roundtable, <\/em>The Atlantic,<\/em>\u00a0Hyperallergic,\u00a0and<\/em> VAN Magazine.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cNessun dorma,\u201d Donald Trump, and the best and worst of fans. Ever since Jacopo Peri wrote Euridice (1600, the earliest extant European opera) to celebrate the marriage of Henri IV of France and Maria de\u2019 Medici, opera has been ripe for political interpretation, partisanship, and misappropriation by its makers and its fans. Unfortunately, one of […]<\/p>\n","protected":false},"author":907,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[22700],"tags":[25186,19381,8919,22896,2962,25182,4912,25187,25183,25190,46,25185,25184,2204,25180,2426,9124,2708,25181,23791,24672,25179,144,25188,25189],"class_list":["post-103810","post","type-post","status-publish","format-standard","hentry","category-our-correspondents","tag-campaign","tag-donald-trump","tag-election","tag-election-season","tag-fascism","tag-free-republic","tag-hillary-clinton","tag-let-no-one-sleep","tag-luciano-pavarotti","tag-make-america-great-again","tag-music","tag-mussolini","tag-nessun-dorma","tag-opera","tag-opera-culture","tag-politics","tag-presidency","tag-president","tag-puccini","tag-rape-culture","tag-songs-to-the-moon","tag-turandot","tag-united-states","tag-vincero","tag-we-will-win"],"acf":[],"yoast_head":"\n\u201cNessun 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