Reviewed: A Fidelio for the future

Hi-tech and full of trickery, but can the music survive?

 

Fidelio, Opera de Lyon (coming to the Edinburgh Festival, summer 2013)

A space-age opera for a space-age opera house – it seems only fitting. Jean Nouvel’s astonishing opera house at Lyon took shape within the architectural shell of the original 1831 Opera when that space became unworkable in the 1990s. The result belies its neo-classical exterior in a black-lacquer, modernist fantasy of escalators and walkways, extending high up into a new vaulted roof-space – a triumph of spatial and aesthetic reclamation. Now American artist Gary Hill has set up his own concept-space within Beethoven’s Fidelio, creating a futuristic, sci-fi meditation within the musical shell of the original. It’s bold certainly, and visually arresting, but can it equal the ingenious creativity of its surroundings?

There are plenty of folk who have bet that it will. Already scheduled to travel to the Edinburgh Festival this summer with some minor cast changes, it will be interesting to see if Hill makes any alterations to his staging in light of this first run as part of Opera de Lyon’s opera festival, with its theme of “Justice/Injustice”.

We open in a shoal of intricately projected constellations, darting and swirling seemingly in mid-air – one of the sensory delights of Hill’s visuals, which sustain an almost four-dimensional stage-space throughout. A narrator sets the scene in a post-apocalyptic world (it could be the future, could be a parallel universe, she tells us in language drawn from Harry Martinson’s 1956 poem Aniara) in which humans have fled the earth, setting up a temporary home – Aniara – in space. Their only hopes for survival and communication lie in the all-knowing, super-computer MIMA.

All of which translates rather more prosaically to Fidelio on a spaceship. Metallic fashions (the more sartorially implausible the better) are in, and walking is out, thanks to the futuristic Segways on which the characters dart elegantly about. The evil Don Pizarro watches over his captives on screens that he summons from the air in front of him, and Florestan finds himself tortured and imprisoned in Blade Runner-esque fashion in the steel bowels of the ship.

What’s interesting about Hill’s conception is the extent to which video-art and live action are integrated. Act I is substantially more successful at this than Act II, offering us a genuine glimpse of the opera of the future in which the visual trickery and magic of virtual reality and film are brought to bear in an art form that revels and welcomes such excess. At its best – in Don Pizarro’s persuasive visual manipulation of Rocco, or the abastract ballet of images during the quartet – this is thrilling stuff, blending with and amplifying the original work. But at its lazy worst this Fidelio almost feels like an 1980s park-and-bark staging set behind an inexhaustible screensaver of visual doodlings.

None of which speaks to the music, which suffers a little among so much conceptual activity. Conductor Kazushi Ono struggles often to unite pit and stage – an issue that will hopefully be resolved by the summer. Singers push forward against his sedate tempi, legatos never quite connect, and with such other-worldly visuals there’s more than usual pressure for the brass and strings to achieve the transcendent loveliness that Beethoven’s score makes possible. Sadly all too-often in this space-fantasy Ono’s orchestra (and his horns particularly) remain distressingly earthbound, with some serious intonation issues blighting Act II.

The cast too is a little uneven. Nikolai Schukoff’s Florestan is the stand-out, and those hearing him reprise the role in Scotland can look forward to some secure and sensitively projected work at the top of his range and unusually personable characteristation. Michaela Kaune’s Leonore (replaced by Erika Sunnegårdh at Edinburgh) is less secure. A voice of no-great loveliness proves serviceable enough for the most part, but misses that glowing warmth that can transform her first aria into something miraculous. She is balanced by Karen Vourc’h’s pert Marzelline, whose voice shows signs of interesting things to come, but currently phases in and out of focus, struggling to sustain an even line. I wonder whether, among all the distractions of projections and Segways, the singers were able to give their best – something this first-time opera director might do well to consider.

Hill’s is undeniably a catalyst show – a masterclass in what is possible if new technologies are harnessed to old scores, offering a truly 21st-century model of gesamtkustwerk. Yet in many ways this feels like a prototype rather than the finished product. There’s little point in embracing all that digital technology has to offer if the musical basics are neglected. Get it all right and opera’s future, so often in doubt, could be assured. Get it wrong, and we have an empty spectacle that diminishes even as it attempts so desperately to amplify.

 

The opera house in Lyon (Getty Images)
Nicola Snothum / Millenium Images
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The end of solitude: in a hyperconnected world, are we losing the art of being alone?

In the end, Solitude feels a bit like an amiable cop-out. 

Michael Harris is a Canadian writer who lives in a big city and whose life is defined and circumscribed, as so many Western lives are now, by digital technologies. He finds it hard to leave his phone at home in case he misses anything. He worries about his social media reputation. He uses apps and plays games, and relies on the internet hive mind to tell him which films to watch or where to eat. Here is what happens when he goes on holiday to Paris:

Disembarking from the train from London, I invited a friendly app to guide me to a hotel near the Pompidou . . . The next morning, Yelp guided me towards a charming café in the Marais. There, wizard-like, I held my phone over the menu and waited for Google Translate to melt the words into English. When the waiter arrived, I spoke into my phone and had it repeat my words to the grinning garçon in a soft, robotic French. Later, at the Louvre, I allowed a Nintendo-sponsored guidance system to track my steps up the centuries-old Daru staircase as I squinted confusedly at its glowing blue you-are-here dot . . .

Terrifying, isn’t it? Well, I thought so as I read it, and Harris thought so afterwards. It was situations like this, during which he realised that his life was controlled, confined and monitored by distancing technologies, that led him to wonder whether solitude – the act and the art of being alone – was in danger of disappearing.

Harris has an intuition that being alone with ourselves, paying attention to inner silence and being able to experience outer silence, is an essential part of being human. He can remember how it felt to do this, before the internet brought its social anxiety and addiction into his life. “I began to remember,” he writes, “a calm separateness, a sureness I once could live inside for an easy hour at a time.”

What happens when that calm separateness is destroyed by the internet of everything, by big-city living, by the relentless compulsion to be with others, in touch, all the time? Plenty of people know the answer already, or would do if they were paying attention to the question. Nearly half of all Americans, Harris tells us, now sleep with their smartphones on their bedside table, and 80 per cent are on their phone within 15 minutes of waking up. Three-quarters of adults use social networking sites regularly. But this is peanuts compared to the galloping development of the so-called Internet of Things. Within the next few years, anything from 30 to 50 billion objects, from cars to shirts to bottles of shampoo, will be connected to the net. The internet will be all around you, whether you want it or not, and you will be caught in its mesh like a fly. It’s not called the web for nothing.

I may not be the ideal reader for this book. By page 20, after a few more facts of this sort, I had already found myself scrawling “Kill everyone!” in the margins. This is not really the author’s fault. I often start behaving like this whenever I’m forced to read a list of ways in which digital technology is wrecking human existence. There are lots of lists like this around at the moment, because the galloping, thoughtless, ongoing rush to connect everything to the web has overcome our society like a disease. Did you know that cows are now connected to the internet? On page 20, Harris tells us that some Swiss dairy cows, sim cards implanted in their necks, send text messages to their farmers when they are on heat and ready to be inseminated. If this doesn’t bring out your inner Unabomber, you’re probably beyond help. Or maybe I am.

What is the problem here? Why does this bother me, and why does it bother Harris? The answer is that all of these things intrude upon, and threaten to destroy, something ancient and hard to define, which is also the source of much of our creativity and the essence of our humanity. “Solitude,” Harris writes, “is a resource.” He likens it to an ecological niche, within which grow new ideas, an understanding of the self and therefore an understanding of others.

The book is full of examples of the genius that springs from silent and solitary moments. Beethoven, Dostoevsky, Kafka, Einstein, Newton – all developed their ideas and approach by withdrawing from the crowd. Peter Higgs, the Nobel ­Prizewinner who discovered the Higgs boson particle, did his best work in peace and solitude in the 1960s. He suggests that what he did then would be impossible today, because it is now virtually impossible to find such solitude in the field of science.

Collaboration, not individuality, is fetishised today, in business as in science and the arts, but Harris warns that collaboration often results in conformism. In the company of others, most of us succumb to pressure to go with the crowd. Alone, we have more chance to be thoughtful, to see differently, to enter a place where we feel free from the mob to moderate our unique experience of the world. Without solitude, he writes, genius – which ultimately springs from different ways of thinking and seeing – becomes impossible. If Thoreau’s cabin in the woods had had wifi, we would never have got Walden.

Yet it is not only geniuses who have a problem: ordinary minds like yours and mine are threatened by the hypersocial nature of always-on urbanity. A ­civilisation can be judged by the quality of its daydreams, Harris suggests. Who daydreams now? Instead of staring out of the window on a train, heads are buried in smartphones, or wired to the audio of a streaming film. Instead of idling at the bus stop, people are loading up entertainment: mobile games from King, the maker of Candy Crush, were played by 1.6 billion times every day in the first quarter of 2015 alone.

If you’ve ever wondered at the behaviour of those lines of people at the train station or in the street or in the café, heads buried in their phones like zombies, unable or unwilling to look up, Harris confirms your worst fears. The developers of apps and games and social media sites are dedicated to trapping us in what are called ludic loops. These are short cycles of repeated actions which feed our brain’s desire for reward. Every point you score, every candy you crush, every retweet you get gives your brain a dopamine hit that keeps you coming back for more. You’re not having a bit of harmless fun: you are an addict. A tech corporation has taken your solitude and monetised it. It’s not the game that is being played – it’s you.

So, what is to be done about all this? That’s the multibillion-dollar question, but it is one the book cannot answer. Harris spends many pages putting together a case for the importance of solitude and examining the forces that splinter it today. Yet he also seems torn in determining how much of it he wants and can cope with. He can see the damage being done by the always-on world but he lives in the heart of it, all his friends are part of it, and he doesn’t want to stray too far away. He understands the value of being alone but doesn’t like it much, or want to experience it too often. He’ll stop checking his Twitter analytics but he won’t close down his account.

At the end of the book, Harris retreats, Thoreau-like, to a cabin in the woods for a week. As I read this brief last chapter, I found myself wishing it was the first, that he had spent more time in the cabin, that he had been starker and more exploratory, that he had gone further. Who will write a Walden for the Internet Age? This book is thick with fact and argument and some fine writing, but there is a depth that the author seems afraid to plumb. Perhaps he is afraid of what he might find down there.

In the end, Solitude feels a bit like an amiable cop-out. After 200 pages of increasingly disturbing facts about the impact of technology and crowded city living on everything from our reading habits to our ability to form friendships, and after warning us on the very last page that we risk making “an Easter Island of the mind”, the author goes back home to Vancouver, tells his boyfriend that he missed him, and then . . . well, then what? We don’t know. The book just ends. We are left with the impression that the pile-up of evidence leads to a conclusion too vast for the author, and perhaps his readers, to take in, because to do that would be to challenge everything.

In this, Solitude mirrors the structure of many other books of its type: the Non-Fiction Warning Book (NFWB), we might call it. It takes a subject – disappearing childhood; disappearing solitude; disappearing wilderness; disappearing anything, there’s so much to choose from – trots us through several hundred pages of anecdotes, science,
interviews and stories, all of which build up to the inescapable conclusion that everything is screwed . . . and then pulls back. It’s like being teased by an expert hustler. Yes, technology is undermining our sense of self and creating havoc for our relationships with others, but the solution is not to stop using it, just to moderate it. Yes, overcrowded cities are destroying our minds and Planet Earth, but the solution is not to get out of the cities: it’s to moderate them in some way, somehow.

Moderation is always the demand of the NFWB, aimed as it is at mainstream readers who would like things to get better but who don’t really want to change much – or don’t know how to. This is not to condemn Harris, or his argument: most of us don’t want to change much or know how to. What books of this kind are dealing with is the problem of modernity, which is intractable and not open to moderation. Have a week away from your screen if you like, but the theft of human freedom by the machine will continue without you. The poet Robinson Jeffers once wrote about sitting on a mountain and looking down on the lights of a city, and being put in mind of a purse seine net, in which sardines swim unwittingly into a giant bag, which is then drawn tightly around them. “I thought, We have geared the machines and locked all together into interdependence; we have built the great cities; now/There is no escape,” he wrote. “The circle is closed, and the net/Is being hauled in.”

Under the circumstances – and these are our circumstances – the only honest conclusion to draw is that the problem, which is caused primarily by the technological direction of our society, is going to get worse. There is no credible scenario in which we can continue in the same direction and not see the problem of solitude, or lack of it, continue to deepen.

Knowing this, how can Harris just go home after a week away, drop off his bag and settle back into his hyperconnected city life? Does he not have a duty to rebel, and to tell us to rebel? Perhaps. The problem for this author is our shared problem, however, at a time in history when the dystopian predictions of Brave New World are already looking antiquated. Even if Harris wanted to rebel, he wouldn’t know how, because none of us would. Short of a collapse so severe that the electricity goes off permanently, there is no escape from what the tech corporations and their tame hive mind have planned for us. The circle is closed, and the net is being hauled in. May as well play another round of Candy Crush while we wait to be dragged up on to the deck. 

Paul Kingsnorth's latest book, “Confessions of a Recovering Environmentalist” (Faber & Faber)

This article first appeared in the 20 April 2017 issue of the New Statesman, May's gamble

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