Painful Plots: Examples of Bad Opera Plots That Sabotage Great Music

While music often takes center stage in opera, the libretto can make or break a performance. In some cases, even the most beautiful melodies and harmonies are overshadowed by poorly conceived plots and characters. This article explores several operas where the music is of high quality but the story and characterization are flawed.

1. Gaetano Donizetti's Maria de Rudenz (1837)

Maria de Rudenz is a prime example of an opera suffering from a troublesome plot. While the late-career work from Donizetti features serviceable music, it cannot save the messy and melodramatic storyline. The title character, Maria, experiences a tragic journey through death and resurrection, which stretches even an experienced opera-goer's patience. The plot features several improbable events, such as Maria dying three times and the antagonist, Corrado, multiple times murdering her, only to murder his own brother in a pointless battle.

The main character, Corrado, is often portrayed as cold and unlikable. Similarly, the seconda donna, Mathilda, does not provide the depth necessary for her character to resonate with the audience. This results in actions within the opera that lack coherence and a sense of inevitability. Consequently, it’s difficult to envision a satisfying conclusion to the story.

2. Charles Gounod’s Mireille (1864)

Mireille is another opera where the music, though beautiful, is let down by an overly complex plot. The opera attempts to merge various elements, such as the doomed love between Mireille, a wealthy farmer's daughter, and Vincent, the son of a basket-weaver, with other fantastical elements like jealousy, a mysterious old woman, a ghostly boatman, and an unlikely death from heatstroke. These elements contribute to a plot that feels disjointed and confusing.

A more streamlined narrative would have significantly enhanced the enjoyment of the opera. The current plot leads the audience down multiple fruitless paths, detracting from the positive aspects of the music. A clearer storyline could have drawn the audience in more effectively, making the more enjoyable musical moments stand out.

3. Samuel Barber’s Vanessa (1958)

Samuel Barber’s Vanessa is a real disappointment, despite the high quality of its music. The plot is confusing and the characters are unsatisfying. The emotional overlay in the opera is overwhelming, making it difficult to understand the underlying psychology. This often leads to frustrating and unconvincing performances, especially in the scenes where characters act in paradoxical or nonsensical ways.

For instance, the opera struggles to provide a coherent explanation for Vanessa's determination to love Anatol, or Erika's abortion and suicide attempt. These events, which are meant to be pivotal, happen in the past or offstage, making them feel distant and disconnected from the present action. The opera ends with a feeling of disappointment, as the audience is left feeling 'whelmed' - neither entirely satisfied nor disappointed, just disconnected.

Conclusion:

While these operas offer exceptional musical compositions, the flawed plots and characters detract from the overall performance. A well-crafted plot can significantly enhance an opera's impact, ensuring that the music and the story work in harmony to create a compelling experience. This highlights the importance of the libretto in the success of an opera, as it sets the stage for the audience's emotional journey.