Erna Metdepenninghen: A Legacy of Opera Criticism

Erna Metdepenninghen, a revered figure in Belgian opera criticism, passed away recently, leaving behind a legacy of profound knowledge and unwavering dedication to the art form. For over three decades, she lent her expert voice to The Standard, offering insightful reviews of opera, ballet, and classical concerts. Her incisive commentary also graced the pages of the online trade magazine Crescendo until 2022, and she led the association of the Belgian music press for fourteen years.

A Walking Opera Encyclopedia

MetdepenninghenS expertise was unparalleled. Her deep understanding of the repertoire and her keen ear for remarkable voices were widely respected. As Sylvia broeckaert noted, she was “a role model” for many.

• Knowledge of repertoire was flawlessly.
• Insight into what good voices were flawlessly.
• judgment well-considered.

Early Exposure and Lifelong Passion

Metdepenninghen’s passion for opera ignited in her childhood. Her father, Arthur, worked at the Ghent Opera and regularly took her to performances. By the age of six, she was attending weekly shows, gaining invaluable experience both on and off stage. Her interest with Ghent soprano Vina Bovy further fueled her interest. As a teenager, she joined forces with Gerard Mortier to establish Youth Opera, a ghent youth club advocating for the “Opera for Flanders.”

Extensive Travels and a Wealth of Knowledge

After studying Germanic philology and teaching languages, Metdepenninghen dedicated her free time to exploring opera houses across the globe, from new York to Helsinki. She frequented summer festivals like Aix-en-Provence and Salzburg, immersing herself in the world of opera.

A Conservative stance on Staging

Metdepenninghen held firm views on opera staging. She was critical of directors who,in her opinion,strayed too far from the essence of the opera. “Opera becomes too much a visual art,” she said in her 2004 farewell from The Standard. “Okay, we live in a time of visual culture. But do directors have to go so far that they start choosing singers based on their appearance?”

Final Curtain Call

Even in her final days,Metdepenninghen’s thoughts remained fixed on opera.Last month, she attended Dawn of the gods at the Munt, accompanied by her Klara counterpart. According to Broeckaert, “She was still talking about opera on her deathbed.”

Erna Metdepenninghen’s profound love for opera and her unwavering commitment to critical integrity have left an enduring mark on the world of music. Her legacy will continue to inspire opera enthusiasts and critics alike. explore the world of opera and share your thoughts on your favorite performances!

Remembering Erna Metdepenninghen: An Interview on Her Lasting Opera Legacy

Opera critic Erna Metdepenninghen recently passed away, leaving a notable void in the world of Belgian music criticism. To understand the depth of her influence, we spoke with renowned music historian, Dr. Isabelle Dubois, who specializes in 20th-century opera and was a contemporary of Metdepenninghen.”

A Colleague’s Perspective: Dr. Isabelle Dubois on Erna Metdepenninghen

Welcome, Dr.Dubois. Thank you for sharing your insights on Erna metdepenninghen’s legacy with Archyde readers.”

Thank you for having me. It’s an honor to speak about Erna. She was a truly remarkable woman.”

Erna Metdepenninghen’s passion for opera was legendary. How did her early experiences shape her critical perspective?”

Erna’s childhood was steeped in opera. With her father working at the Ghent Opera, she began attending performances at a very young age. This early exposure wasn’t just about entertainment; it was formative. She developed an intrinsic understanding of the art form that informed her critical approach. She wasn’t just listening; she was absorbing the nuances of staging, vocal performance, and the overall narrative impact.”

She was known for her extensive knowledge of the opera repertoire.How did this knowledge influence her reviews and her standing within the Belgian music press?”

Her knowledge was encyclopedic,truly. it allowed her to provide context in her reviews that many critics simply couldn’t. She could compare performances across decades, analyze a singer’s interpretation against ancient precedents, and identify subtle shifts in staging with remarkable accuracy. This, coupled with her discerning ear for “remarkable voices,” is why she was such a respected figure. Her judgment was always well-considered, making her reviews invaluable for both seasoned opera-goers and newcomers.”

Metdepenninghen was known for her conservative stance on opera staging. Can you elaborate on why she held this view and its impact on her criticism?”

Yes, Erna was a traditionalist in many ways. She believed that some modern stagings prioritized visual spectacle over the integrity of the opera’s narrative and musical essence.She feared that directors were, at times, casting singers based more on their appearance than their vocal abilities, diluting the true artistic merit of the performance. This viewpoint certainly colored some of her reviews; she wasn’t afraid to critique directors whom she felt were sacrificing the core of the opera for the sake of novelty.”

She also co-founded Youth Opera with Gerard Mortier.How significant was this initiative in promoting opera among younger audiences?”

Youth Opera, later “Opera for Flanders,” was a crucial initiative. It demonstrated her early commitment to making opera accessible to future generations. She understood that the survival of the art form depended on cultivating new audiences. By engaging young people with opera at a formative age,Erna and Gerard were sowing the seeds for the future of opera recognition in Belgium.”

Erna Metdepenninghen’s dedication extended to traveling extensively to experience opera across the globe. How did these travels enriched her understanding and criticism of opera?”

Her travels were essential to her advancement as a critic.Experiencing opera in different cultural contexts,from the Met in New York to smaller houses in Europe,broadened her perspective immensely. She could compare different interpretations of the same opera, observe varying directorial styles, and understand how cultural nuances influenced performance. This global perspective gave her criticism a unique depth and authority.”

what lasting impact do you believe Erna Metdepenninghen has left on the world of opera criticism, and what can aspiring critics learn from her example?”

Erna’s most significant impact is her unwavering commitment to integrity and her profound respect for the art form. She never compromised her standards, and she always prioritized the music. aspiring critics can learn from her the importance of deep knowledge, thoughtful analysis, and the courage to express unpopular opinions. She reminded us that opera criticism is about more than just personal preferences; it’s about understanding and preserving the essence of a timeless art form.”

Dr. Dubois, thank you so much for sharing your valuable insights into the life and work of Erna Metdepenninghen.It’s clear that her legacy will continue to inspire opera enthusiasts for years to come.”

My pleasure. It was an honor to remember Erna.”

What are your favorite opera performances and how do you think modern stagings impact the art form? Share your thoughts in the comments below!”