"Said on Opera" is an insightful analysis of four major operas presented by Edward W. Said, whose intellect and critical acumen have combined literary criticism, cultural analysis, and political engagement in a unique and influential way. Delivered initially as the Empson Lectures at Cambridge University in 1997, this collection, curated with a new introduction by Wouter Capitain and complemented by a masterful foreword from the acclaimed opera director Peter Sellars, marks a significant posthumous contribution to understanding opera in its multifaceted dimensions.

Edward Said, best known for his groundbreaking work "Orientalism," has been a pivotal figure in cultural studies, advocating for a nuanced understanding of the East-West dichotomy, and arguing that the West constructed a false and exoticized image of the Middle East, which served to legitimize its dominance over the region. Additionally, Said's forceful defense of secular humanism, and his advocacy of the Palestinian cause made him one of the most internationally influential cultural commentators of his time.

In "Said on Opera", he extends his critical horizon, by exploring the intersection of music, politics, history, and literature in four iconic operas: Mozart’s Così fan tutte, Beethoven’s Fidelio, Berlioz’s Les Troyens, and Wagner’s Die Meistersinger von Nürnberg.

Said interrogates the operas' engagement with power structures, individual agency, national identity, and the complexities of human emotion and societal norms, thereby enriching our understanding of these compositions while also engaging with the social and political questions of their era. Furthermore, his analysis also “addresses the responsibility of reinterpreting historical works and highlights the interdependence between the arts, representation and their sociopolitical ramifications.”

Peter Sellars explains how Said questions the operas’ engagement with the dynamics of power that shape their contexts.
“In Così fan tutte, he considers the representation of individual agency and autonomy. In chapter two , he presents Fidelio as a fractured opera that reflects Beethoven’s struggle when trying to combine words and music together in a for-him exceptional non-instrumental work.In Les Troyens, the driving force is war as conquest against inferior other, thus giving this ancient story about the Trojan war a contemporary resonance within a nineteenth-century context of imperial expansion. Lastly, in chapter four, Said engages with debates about Vagner’s deeply problematic legacy and tries to extend the pre-Holocaust German nationalistic sentiment in Die Meistersinger to a more universal fear of the loss of tradition.” To today’s audience this presents no particularly aspect of public discourse since it seems to be there in every kind of nationalist and/or identity politics.

"Said on Opera" is a compelling read for opera enthusiasts, scholars, and students alike. It stands as a testament to Said's erudition and his ability to traverse disciplinary boundaries, offering a richly textured, nuanced appreciation of opera. Through Said's interpretive lens, the book not only enriches our understanding of the operas discussed but also invites readers to consider the broader societal, political, and cultural implications of the art form, thus reaffirming the enduring power and relevance of opera in contemporary discourse.

Thank you to Colombia University Press and NetGalley for an eARC copy of Said on Opera by Edward Said, edited by Wouter Capitain.

While I agree with others that this particular book feels incomplete, it cannot be faulted due to the book being published after the death of Said. As a musician, opera is one of my favorite mediums of music (I thank Looney Toons for that), and was excited to read Said's essays on Cosi fan tutte Les Troyens, Fidelio, Die Meistersinger von Nurnberg. All lectures from the 1990s that revolve around the Met Opera productions.

Because they were lectures, they are more dry and it would have been better if the book was just an audiobook of Edward Said speaking the lectures. In writing, it was hard to understand the specific points he was attempting to make and for those who do not know the operas, it didn't go into what they were about and that will make it hard for those who enjoy music, but don't know much about opera to understand.

About 1-2 years ago I became interested in opera so I was really excited for this work!

This is published posthumously and
Studies 4 different operas; Cosi fan tutte Les Troyens, Fidelio, Die Meistersinger von Nürnberg. The essays were originally meant as lectures and are placed in a 1990s context, mainly focused on New York productions.

Because it’s published after Said’s death and before he was able to complete the manuscript it does feel incomplete. Especially since there’s no conclusion that Said was able to write.

It’s also not what I was expecting as it’s very dry and academic, focusing on the musicology and performance (discussing the operas scene by scene) rather than how opera can/should evolve like what the synopsis seemed to suggest (“Said explores how each opera engages with the social and political questions of their own eras—and how they might speak to the present”). I didn’t get much of that, instead getting an explanation of what each opera is about, but not how it was received during the time it would’ve been written and first performed. Or how present day adaptations can evolve to maintain the original message but relate to modern audiences (such as the 2022 production of the METs Bride of Lammermoor set in 2010s Detroit during the opioid crisis.

I enjoyed the introduction and was excited for this book but the following chapters ended up disappointing me. I was often bored and couldn’t fully grasp what Said was talking about. The musicology (and a lot of the vocabulary) went over my head, as a casual opera goer. Definitely a book for academics and people with knowledge of the music/musicology field and not for readers with more of a hobbyist knowledge of opera, like myself.

Thank you for providing advanced access to this book. It is always exciting to see a new work focusing on Said—one of the great thinkers of the twentieth century that spans across all disciplines. Not only do his ideas continue to hold a relevant spot in academic thinking, but his range of writings expertly demonstrate the cross-disciplinary focus our historical programs have been prioritizing.

For instance, Art History students are often introduced to Said in their theory class, which drives many students to consume his work. Recently, our program has focused on moving in the direction of a multi-disciplinary approach, and I think this title is perfect for integrating opera, music, and literary criticism into art historical thinking.

Moreover, it is always preferred to have all of these writings contained within a publication rather than having students individually search for them. Especially for a writer like Said who has produced so much work on many topics, a contained and thematic collection is a great addition to our library.

Unfortunately, the forward and introduction are really messed up on the Kindle edition, and I wasn’t able to read each essay in its entirety. I was looking forward to the introduction which is often where I direct students for research, so I can’t speak too much to this portion of the book.