(…) The opera world has been managed by tough personal politics. Family relationships have been established by iron relations, as in primal tribes. A soprano is bound to be the daughter of a bass, the wife of a baritone and the lover of a tenor. A tenor is prohibited from fathering an alto or having a sexual intercourse with a contralto. A baritone paramour is a true rarity and he’d better look for a mezzosoprano. For that matter, mezzosopranos should be careful with tenors, as their fate usually leads them into the role of “someone else” or an even more miserable position of a soprano’s friend. The only bearded lady (see Stravinsky’s The Rake’s Progress) in the history of opera is a mezzo and, naturally, she is unhappy. Basses are almost universally fathers, cardinals, infernal forces, prison officials, and there is one manager of a mental hospital. However, the above notes shouldn’t lead to any conclusion. I respect opera which is not real life and life which is sometimes a real opera.
Excerpt from Nonrequired Reading by Wisława Szymborska
Don’t blame Wisława for this excerpt’s formal shortcomings, if any. Blame the lousy translator, i.e. me.
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