Les Miserables- ROCK Opera, or not?

[darquegk]

Posted: 3/14/11 at 8:15pm

This point has been discussed slightly in the 25th Anniversary concert discussion, but Les Miserables seems to teeter on the edge of being a typical "pretentious rock opera" and being "a musical with pretentions to BE opera."

Musically speaking, it's written in more or less the same musical language as Jesus Christ Superstar- the blend of genuine rock moments, gentler lyrical passages and modern musical theatre. The only difference is that Superstar has uniformly employed rock singers or singers with a rock sound for most of the roles, whereas Les Miserables prefers to cast singers with more traditional, or even operatic, voices.

What do you think? Is Les Miserables a rock opera? Would it work performed by a cast of singers with rock voices?

[patty2550]

Posted: 3/14/11 at 8:21pm

I'm not so sure a cast of rockers could produce the professionally trained sound that you need for this show. It lends itself to being so classical in its technical requirements at points. Interested to hear others thoughts as well.

[frontrowcentre2]

Posted: 3/14/11 at 8:25pm

The term pop-opera seems to have been dropped, but that is what LES MIZ has usually been classed as. I don't hear any rock elements in its score at all.

I think of it as an opera, and expect that when it finishes its commercial run its future life will be in opera houses. Mainly because opera companies will have the singers and costume resources needed to stage it.

Updated On: 3/14/11 at 08:25 PM

[sing_dance_love]

Posted: 3/14/11 at 8:55pm

Yeah, that's what I was gonna say. If thought of in those terms, I've always considered it to be much more of a pop-opera. I don't think much of it really resembles "rock" at all.

To me it's just an extremely operatic musical theater piece with pop influences.

[My Oh My]

Posted: 3/14/11 at 9:49pm

Les Miserables is the bastard child of opera and pop.

Among the influences that progressively turned what started as an intriguing curiosity for Alain and Claude-Michel into what we now know as "Les Mis," are West Side Story; Evita; Jesus Christ Superstar; Oliver!; Victor Hugo; and Sondheim's "Send In the Clowns." What a mix! The opera influence came from the composer's very strong affection for and knowledge of opera, which he had been exposed to, starting in early childhood, by his family.

In an interview I have, Claude-Michel says that tune ("Send In the Clowns") and style permeated and very much inspired him while writing the score for Les Miserables.

Updated On: 3/14/11 at 09:49 PM

[The Distinctive Baritone]

Posted: 3/14/11 at 9:56pm

Interesting that "Send in the Clowns" served as an inspiration, as I don't see how. But artistic minds work in mysterious ways, I suppose.

In any case, I have to agree with those who do not see the show as a rock opera. It is not rock music. It's kinda operatic pop--or, as it has been called, a "pop opera."

I personally feel that the show best lends itself, for the most part, to operatic voices. Alfie Boe was absolutely perfect, and exactly what the role calls for IMO.

[FindingNamo]

Posted: 3/14/11 at 9:58pm

If the Ogunquit Playhouse can stage it, it won't be only opera companies that produce Les Miz in the future.

[The Distinctive Baritone]

Posted: 3/14/11 at 10:02pm

I think that what the poster meant was that it will be one of those musicals frequently produced by opera companies, like Sweeney Todd.

[PB ENT.]

Posted: 3/14/11 at 10:04pm

In 1969 Pete Townshend and The Who released Tommy, the first of The Who's two full-scale rock operas and the first musical work explicitly billed as a rock opera.

Townshend's Tommy influenced many, including composer Andrew Lloyd Webber. Jesus Christ Superstar was explicitly billed as a "rock opera" and though it first appeared in recorded form, it became far more famous as a Broadway musical, leading it to be called a "rock musical", blurring the distinction between the two terms. Webber and Rice's last collaboration was Evita, which is supposedly considered a rock opera, along with Broadway musical styled songs.

Personally I don't consider Les Miserable a 'rock opera' as unlike JCS & Tommy it is not sung in a pop/rock style by any means, but more a legit musical theater style.

I do think both Evita and Joseph sit on the fence as a pop/rock opera...But that's just my opinion.

[MrOpera2]

Posted: 3/14/11 at 10:14pm

Actually in Spain there is a guy who is playing Valjean that also played Jesus.
Sálvalo (Bring Him HOme)
http://www.youtube.com/watch?v=07QgpB8pNqA&feature=fvsr

Gethsemane
http://www.youtube.com/watch?v=TVVkZBbEeOg&feature=related

http://www.youtube.com/watch?v=-MdJCr-bCMQ

[The Distinctive Baritone]

Posted: 3/14/11 at 10:19pm

Interestingly, Lawrence Clayton, the current U.S. tour Valjean, was Judas in the last Equity tour of JCS. And Max Quinlan and Joe Tokarz, who understudy Marius and Valjean respectively, appeared together as Jesus and Judas at Theatre at the Center in Indiana.

[My Oh My]

Posted: 3/14/11 at 10:21pm

Colm played Judas before Les Mis fame came rapping on his door.

And so did Drew. I think.

Updated On: 3/14/11 at 10:21 PM

[PB ENT.]

Posted: 3/14/11 at 10:30pm

~The Distinctive Baritone - Having recently seen Lawrence as Valjean, I can confidently imagine his Judas was better suited for him. I saw Living Color's Corey Glover as Judas opposite Ted Neely nail the role, not that I am color casting the role of Judas.

I never quite felt the angst, the passion of Clayton's Valjean. While he hit all the notes and nailed the money song..I am still surprised he was chosen for the role, imo.

[The Distinctive Baritone]

Posted: 3/14/11 at 10:46pm

I have to agree with you. As to not suggest that opera singers can't sing rock and vice versa, I did not critique Clayton's Valjean, but I felt that his voice, although strong, is probably better suited for pop/rock. Alas, I saw his understudy in JCS, so I can't make a comparison between his two performances, although I imagine he was a better Judas than Valjean.

[Little-Lotte]

Posted: 3/14/11 at 10:58pm

I'm with the majority of the posters in classifying the show as a pop-opera, not so much a rock opera like Tommy or JCS. There have been instances of more rock inspired voices who have been in the show, Drew Sarich being a major one. He understudied and subsequently played Valjean, Javert and Enjorlas and didn't hide the fact that he has more rock type of vocals. I mean we all saw on here some people loved the interpretation of the score in that way and others didn't. Being a fan I personally loved his interpretation, however it did make him stand out since he had more traditional/operatic musical theatre singers around him. It would be interesting to see a production more geared to that sound as a unified whole, not just one or two people, just to see how it would be. But it seems to be a more legit type of show than not I think.

[SporkGoddess]

Posted: 3/15/11 at 12:04pm

Why even classify it as any kind of opera? What differentiates it from musical theatre?

[Weez]

Posted: 3/15/11 at 12:14pm

Musical theatre has dialogue. Opera is sung-through. To boil it down to the absolute basics and not take musical style or anything else into account.

[best12bars]

Posted: 3/15/11 at 1:10pm

"Personally I don't consider Les Miserable a 'rock opera' as unlike JCS & Tommy it is not sung in a pop/rock style by any means, but more a legit musical theater style."

It's been growing more that way ever since it opened. But the original voices were a lot more pop/rock (yes, rock) than legit or operatic. Colm Wilkinson and Frances Rufelle (sounding like a stage version of Cyndi Lauper, at the time) were the two imports from the original London cast. And IMO, they were by far the most interesting when I saw the show in NY right after it opened. Ever since then, replacements, tours, etc., have leaned toward legit theatre or even opera singers (or at least with opera credits) in these roles.

I've never liked that approach.

Evita is another show often cast far away from its rock opera roots.

I think it goes against the score and the characters, as written, to cast legit/trained singers over pop/rock singers. It's like listening to Kiri Te Kanawa sing a Celine Dion power ballad. Or watching a ballet dancer try hip-hop. It might be impressive to some degree, if they have talent, but it's way too controlled and polished for what they're doing. No thanks.

EDIT: Just so you know where I'm coming from, I should add that I was never fond of the Julliard tones of Audra McDonald as Sarah in "Ragtime." It didn't fit the character or the score at all. I much preferred LaChanze in the role. I still think Audra is a brilliant actress/singer, and one of the leading theatrical actresses of her generation. There's no question about her talent.

Updated On: 3/15/11 at 01:10 PM

[Josh Freilich]

Posted: 3/15/11 at 1:46pm

I agree with best12bars about everything he said.

[themysteriousgrowl]

Posted: 3/15/11 at 2:01pm

"Musical theatre has dialogue. Opera is sung-through."

False.

[bwaylvsong]

Posted: 3/15/11 at 4:31pm

IMO the best way to cast Les Miz is to have the best of both worlds- find singers who can pull off both styles! There are plenty out there and they are very easy to find (*coughs*)! Seriously though, I don't think it makes sense to cast everyone the same way- I would never want to cast someone who can only sing classical/legit as Eponine, just like I would never want to cast someone who can only sing pop/rock as Cosette. Versatility is key.

[ClapYo'Hands]

Posted: 3/15/11 at 7:24pm

""Musical theatre has dialogue. Opera is sung-through."

False."

Would you care to explain yourself to all the wonderful people out there in the dark, themysteriousgrowl?

[AEA AGMA SM]

Posted: 3/15/11 at 7:36pm

Well, depending on which version you do, Carmen has dialogue sections. The recitative was not added until after Bizet's death in 1875 for the Vienna premiere.

The Magic Flute also has a good amount of dialogue that is not set to music.

While one of the traditional elements of opera is that it is mostly sung-through, that is not its defining element.

[Sally]

Posted: 3/15/11 at 8:13pm

---Not an expert but some operas have some dialogue, and we know there are musicals that are almost all sung through.

Although music is important in both musicals and operas, the emphasis in opera is more on the music than the story-telling or acting or other elements---although I believe acting in opera has gotten better in recent years than it used to be.

One pretty clear distinction between the two is that although sound systems are used in some opera houses to amplify or improve the total sound (I *think*), the individual performers are not mic-ed (I don't know how to spell that!). The emphasis in opera is on the beauty and power of the voices that can carry throughout the theater without mics. In musicals, the performers have worn mics for many years, and the emphasis isn't as much on the voices.
Updated On: 3/15/11 at 08:13 PM

[SporkGoddess]

Posted: 3/15/11 at 9:29pm

Opera also is sung in a different style and has different diction, with modified vowels.