At first, music and baseball might seem to have little in common. But don’t tell that to sports diehards and opera buffs in upper New York State. At least not in July and August, when a multitudinous group of fans from across the US converge at the Baseball Hall of Fame in Cooperstown. This year’s annual induction ceremonies were held July 20–23. Meanwhile, just a few miles down the road, devotees of vocal aspirants flocked to the Glimmerglass Opera to hear and see them “play ball.”
Should Art be merely an escape or refuge from the realities of our difficult times? In the 1940s, the debate heated and divided artists, musicians and scholars. In Wallace Stevens’s essay “The Noble Rider and The Sound of Words,” the twain are resolved in the idea that art, even “abstract” art can assume the role of social commentary only through innate and ineffable transformations of reality rather than by any explicit agenda dogmatically imposed by the creator. Great art could not be manhandled ideologically. How this solution might apply to opera of the past becomes the task of the director and musicians in balancing the surprisingly diverse elements of the music’s intent, the libretto’s intent, the historical context, and, yes, the composer’s objectives, if any. It is not surprising that Stevens regarded that an artistic creation had its own life apart from the creator’s wishes. Thus, we have the license for interpretation and deconstruction that has become the hallmark of Regietheater in our times.