BY STEPHANIE ESLAKE
Content warning: This interview contains discussion of sexual assault and rape.
The dominant man. The helpless woman.
When it comes to the narratives of music and opera, we see these common stereotypes presented again and again.
But in an era that encourages women to speak out against perceptions of helplessness – claiming power through movements such as #metoo, and refusing to be reduced to the label of victim – what continues to be the function of works built around these characters?
One such musical work is Apollo e Dafne. This Handel cantata is drawn from Greek mythology and, while composed in the 18th Century, it pushes us to question: has anything really changed?
Canadian soprano Rachel Pines will perform the leading role of Dafne with Brisbane City Opera this month. She is working to cast a shadow over the way we perceive gender dynamics and power structure in music.
In her own words, Rachel is singing a woman who “is not a victim, but a fighter”.
Tell us about how you’re involved in Apollo and Dafne. Why did you say yes to taking on the role of Dafne herself?
Brisbane City Opera is an innovative independent opera company that tackles all kinds of repertoire, subject matter, and performance settings. I’m thrilled to be involved in this production helmed by my friend and director Chris Clement McNee.
When he approached me about the project, I immediately listened to a recording of the work, and looked up the storyline and mythological history behind it. The music is so beautiful, and the story is timeless. The exciting challenge that sparked my interest was to flesh out Dafne, a stereotype of feminine helplessness, and bring her more depth.
So in your own words, what is this show really about?
To me, the story is about the tragedy that comes from male entitlement, misogyny, abuse of power.
Like many iconic operas and as you point out, this story covers disturbing themes. Dafne’s character is violently pursued by the egotistical Apollo. How do you stay strong when portraying a woman who is suffering in this way?
Absolutely. I thought about this deeply, and have struggled to justify portraying the effects of such deep abuse, when in real life it is so traumatic. The conclusion I have come to is that it is better to join the conversation than to ignore it. I am playing this role in solidarity with women who have been abused. Sexual assault and rape have been taboo subjects for a long time, and thankfully now society is starting to address it in a proactive way. I hope I can support this development by playing Dafne. She is not a victim, but a fighter. She is not defined by her abuse.
So what elements of Dafne’s character have you chosen to present through this interpretation of a strong female character?
This is an interesting question. In Handel’s setting, Apollo has the most lyrical, beautiful melodies that express a wide range of emotions, whereas Dafne’s music is more military. It’s easy to almost get irritated at her for not giving in to Apollo; as if Apollo is the typical ‘cool guy’ and Dafne is the [judged] uptight girl who is too prudish to say ‘yes’. In classical artwork, Dafne is portrayed as soft and helpless, saved only by begging her father (the river god Peneus) for aid, at a terrible cost. I wanted to move away from this both villainised and victimised woman, and make her a multifaceted character who is defined by more than her flight from Apollo.
In my portrayal, Dafne is protective, loyal, and values freedom of the soul above all. She is both philosophical and fierce, as she worships Diana, the chaste goddess of hunting. Dafne fights for what she believes in, at any cost. And not to give the ending away, but Daphne makes a choice that protects what she values most. I see her as very strong, and I hope that comes across.
It’s a work that’s rarely performed. And unfortunately, these themes covered through the opera are still relevant today. What’s the message that men or women should take away from this story, performed here in the 21st Century?
This piece is definitely relevant today, and we are joining the conversation by presenting it. With #metoo and #timesup and so many cases of sexual assault crimes finally getting resolved, the message is ‘no more’. We will not tolerate these crimes any more. It’s not about women changing their behaviour. It’s about men taking responsibility.
If you could tell the audience to keep one thing in mind when watching this production, what would it be?
I would recommend that our audience consider the overall message of the work. We are not glossing over difficult themes and situations, as is so often done in opera. While there are some harrowing scenes that may be difficult to watch, we are painting a larger picture, and the lasting message is one of female empowerment.
Anything else you’d like to add?
We have worked very hard to bring this topical and fascinating piece to life. Please, art lovers of Brisbane, come out to see the show!
See Apollo e Dafne presented by the Brisbane City Opera at Sue Benner Theatre, Metro Arts, 19-22 July. Rachel will sing Dafne, with Apollo by Joshua White, under the direction of Chris Clement McNee and conducted by Mark Connors.
Lifeline: 13 11 14
Support Act Wellbeing Helpline: 1800 959 500
Images supplied.
