Throughout history, the Aran Islands have been a fountain of inspiration for numerous artistic ventures, inspiring masterpieces in various disciplines. Celebrated playwright JM Synge and famed artist Seán Keating have both produced work deeply influenced by the islands. Intriguingly, this inspiration has even extended to the world of opera.
Gilbert Bécaud, the charismatic French vocalist and composer of the 1960s, crafted an opera entirely based on the Aran Islands. The opera, entitled L’Opéra d’Aran, is one of Bécaud’s contributions to the art form. Known for his dynamic stage performance, which earned him the monikers “Monsieur 100,000 Volts” and “Monsieur Dynamite”, Bécaud was not limited to performing but also showcased his talents in songwriting for other artists, including the likes of Edith Piaf and Juliette Gréco.
Over the span of his career, Bécaud composed over 400 songs, collaborating with iconic singer Charles Aznavour on several successful hits. A considerable portion of his work was translated into English and performed by renowned artists including Nina Simone and Liza Minnelli. His most well-known song, Et Maintenant, was covered by Frank Sinatra, Shirley Bassey, and Elvis Presley among other stars, under the English title, What Now My Love.
Bécaud’s opera, L’Opéra d’Aran, comprised of two acts and seven scenes, revolves around themes of love and betrayal. Music scholar Axel Klein referred to the opera as Bécaud’s “biggest and most contentious accomplishment”. Despite the recognition, Klein suggests that Bécaud’s compositional skills usually get overlooked, with biographers more inclined towards his vibrant stage persona.
The opera’s debut at the Théâtre des Champs-Elysées on October 25th, 1962 commanded significant attention, drawing an audience that included notable figures like Marlene Dietrich and Jean Cocteau. It enjoyed a successful run of 100 performances concluding in early January the following year, testament to Bécaud’s popularity.
The opera, devoid of any verbal dialogue, features, amongst others, characters such as fishermen, island inhabitants, and an enigmatic man discovered half-submerged in the fishermen’s nets. The majority of the 30 song numbers seamlessly blend into one another, resulting in a maiden performance that lasted 110 minutes.
Despite never setting foot on the Aran Islands, Bécaud handpicked them for his opera’s setting, citing their apparent isolation as a factor. He described it as an untouched utopia where the people still held fast to their faith in God, upholding goodness and aesthetic beauty whilst retaining their kind-heartedness.
His prime islander characters were labelled Maureen, Mickey, and Seán, with the enigmatic newcomer to the island being christened Angelo. The women donned shawls, with the men clad in tweed trousers complemented by Aran sweaters. At several junctures during the opera, a boat mimicking a currach graced the stage.
The groundbreaking opera by Bécaud sparked dialogue in France, Ireland, and beyond. Publications such as Paris Match and Le Figaro offered their critique, with the former questioning Bécaud’s earnestness, whilst the latter branded it as the ‘rudimentary yet soul-stirring.’
Additionally, a growing demand for sweaters, particularly in the larger Parisian stores, was documented. It came to light that Marie France, a preeminent fashion magazine of that period, intended to send models for a photoshoot on the Aran Islands donning the unique apparel with its cable designs. However, the publicity was not unanimously favourable.
John Montague, contributing to his Paris Letter column, offered a rather dismissive sentiment towards Bécaud’s portrayal of Irish society in his opera. Montague described the opera as a ‘musically appealing but gross misrepresentation of Irish life’, likening it to a ‘Frenchified version of Gloccamorra’.
In contrast to the acclaim Bécaud’s opera initially received in Paris, a critic from the United States press remained sceptical about its merits. The critic proposed that the opera’s success in Paris may have been influenced by the Parisians’ biased appreciation for the attractive singer and composer.
Despite some criticism, the opera’s quality was perceived as commendable enough to earn further performances in various locations throughout France, extending beyond the nation’s capital, and overseas. Several towns across North and South America, as well as numerous European cities, hosted the opera in the subsequent years and decades following its original unveiling in Paris.
Although Bécaud never physically set foot on the Aran Islands, they had a significant influence on both his professional and personal life. Bécaud, who lost his life to cancer at 74 in 2001, spent his final years living in a houseboat moored on the Seine in Paris. Intriguingly, he named his houseboat Aran, testament to their importance in his life.