Operatic Tales of the Abuse of Political Power Viewed through a Critical Criminological Lens

• In Event: Exploring the Intersection of Music and Violence

Abstract

Studying the intersection of criminology and the arts enhances our understanding of how popular culture contributes to societal perceptions and beliefs about crime and justice. Drawing primarily on critical criminological and operatic sources, this presentation, which is part of a larger study, explores evolving operatic messages about the abuse of political power—corruption. Some contemporary criminologists have analyzed the messages and images of pop music and social media as contributing factors to criminal behavior. In contrast, this study focuses on operatic messages conveyed to audiences comprised of elites and general publics—usually the law abiding—since the 17th century. An extrapolated critical criminological framework is used to identify and analyze operatic messages about crimes of political elites. Applying criteria, including evidence of a critical criminology perspective and diverse historical, cultural, and operatic traditions, three operas—The Beggars Opera (1728), Fidelio (1804/1814), and Tosca (1900)—were selected for purposes of illustration. Despite interpretative constraints posed by historical and cultural contexts, these operas, through their words and music, have over time informed and educated audiences, including policymakers, about crimes, stemming from political and social inequities and the abuse of power, committed by those in positions of power and authority.

Author

• Barbara Ann Stolz, Georgetown University, McCourt School of Public Policy