Abstract:
South African composer Amy Crankshaw’s 2020 chamber opera, The Apothecary, co-created with British librettist Clare Best, portrays performances of femininity in complex ways. This study presents a qualitative analysis of performances of femininity in The Apothecary, while drawing on the composer and librettist’s feminist perspectives and interpretations of femininity in contemporary opera.
A qualitative methodological approach is used within a broader framework of feminist phenomenology, within a hermeneutic paradigm. Semi-structured interviews with Crankshaw and Best delved into their perspectives on femininity, and the intention and creative process for The Apothecary. An analysis of the score and video recording of the 2021 Guildhall School of Music & Drama premiere of the opera was conducted to explore the intersections between text, music and drama in creating and reinforcing depictions of femininity.
Findings show that The Apothecary displays nuanced and ambiguous performances of femininity and provides a criticism of the male gaze through musical, textual and visual elements. This study is the first comprehensive investigation of a South African female composer’s operatic work, and the first to specifically focus on the performances of femininity. The insights gained from this study may stimulate conversations amongst creatives within the contemporary opera industry and allows for discussions to be had on the effectiveness of opera as a form to display differing performances of femininity and female agency.
