{"id":164230,"date":"2023-05-12T10:30:06","date_gmt":"2023-05-12T14:30:06","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=164230"},"modified":"2023-05-12T10:16:09","modified_gmt":"2023-05-12T14:16:09","slug":"the-reviews-review-emma-bovary-at-the-opera","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2023\/05\/12\/the-reviews-review-emma-bovary-at-the-opera\/","title":{"rendered":"The Review<\/em>\u2019s Review: Emma Bovary at the Opera"},"content":{"rendered":"
\"\"

Lucie de Lammermoore. Victor Coindre, Public domain, via Wikimedia Commons<\/a>.<\/p><\/div>\n

My first memory of opera is <\/span>Bugs Bunny<\/span><\/i> or maybe <\/span>The Pink Panther Show<\/span><\/i>: those Saturday-morning cartoons where the fat lady sings and shatters a glass. Much later I began to date a man who had been to hundreds of opera performances (a fact I found not only shocking but literally unbelievable) and so I went from watching no operas to almost one a month. The one I\u2019ve enjoyed the most by far was the Met\u2019s spring 2022 production of Gaetano Donizetti\u2019s <\/span>Lucia di Lammermoor<\/span><\/i>, staged in a town in the depressed Rust Belt. I had already read about <\/span>Lucia<\/span><\/i>: it\u2019s the opera that inspires Emma Bovary to cheat on her husband (again, and more dramatically). And yet I didn\u2019t know anything about its plot, because Flaubert doesn\u2019t describe it; the opera serves merely to connect Emma to her younger self, the pretty country girl who had had bigger dreams than a failure of a husband and a cad of an (ex-)lover. At the opera, Flaubert writes, \u201cd\u2019insaissibles pens\u00e9es\u201d come over her: \u201celusive thoughts,\u201d uncapturable thoughts, incomprehensible thoughts. What\u2019s coming over her is fantasy.\u00a0<\/span><\/p>\n

Nabokov said about Emma Bovary that she was the quintessential \u201cbad reader,\u201d the one who reads \u201cemotionally, in a shallow juvenile manner, putting herself in this or that female character\u2019s place\u201d: above all, in the place of Lucia di Lammermoor, the tragic sister of a warlord, kept from the man she loves, who slaughters her husband on their wedding night in a crazed delirium and herself dies. But to read <\/span>Madame Bovary <\/span><\/i>as purely reprobative seems to me cold to the point of insanity; as Flaubert said, of course, \u201cMadame Bovary, c\u2019est moi.\u201d We are all fantasists, incomplete and incoherent actors in search of a character, and who can blame or even fail to admire Emma: so moved by art that she too will destroy her life for a fantasy of love, and die.<\/span><\/p>\n

And yet I myself was not at all moved by the opera to change my life. I could <\/span>admire <\/span><\/i>the lead soprano Nadine Sierra\u2019s expressiveness, virtuosity, beauty; I could delight in the claustrophobic sets, in the (perhaps a tad excessive) use of projection. But the experience was not at all like that of, say, watching a nineties film and wanting to be a slacker so badly I regretted ever getting a job. Opera, you might say, is an outdated fantasy machine: too mannered, too heroic, too \u2026 boring?\u00a0<\/span><\/p>\n

On the other hand, I increasingly find it hard to understand what people\u2019s epistemic relationships are to all sorts of things: the massively popular<\/span> Love Is Blind<\/span><\/i> is an almost mockingly Brechtian, stiff recitation of clich\u00e9s (\u201cI would call myself, maybe \u2026 an empath?\u201d \u201cMe <\/span>too!<\/span><\/i>\u201d). The people around me who seem the most obviously engaged in absurd, even delusional, fantasies of impossible and irresistible love\u2014the ones who take their cues from <\/span>Before Sunrise<\/span><\/i>, from the films of Kie\u015blowski\u2014are the ones who feel themselves most assuredly and assertively to be living in truth.\u00a0<\/span><\/p>\n

Now, when I see people at the opera, I see people delighted less by the fantasy of opera than by the fantasy of themselves as operagoers. The divide is immediately evident between the regulars, the season-ticket holders, the devotees, in their wheelchairs and sneakers, and those in gowns and tuxedos taking pictures on the plush red stairs. Yet I suppose we all must get our scripts from somewhere. I am not sure what anyone is feeling at the opera, as the slightly repulsively modern chandelier goes up and the lights go down, but I am fairly certain what they would like to be feeling\u2014would like themselves to be capable of feeling.<\/span><\/p>\n

 <\/p>\n

Ann Manov is a writer living in New York.<\/i><\/main><\/p>\n","protected":false},"excerpt":{"rendered":"

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