The Left's Love Affair with "L'Amour de loin"

Imagine a world where the left's obsession with elitist art forms takes center stage, and you'll find "L'Amour de loin" right in the spotlight. This opera, composed by Kaija Saariaho with a libretto by Amin Maalouf, premiered in 2000 at the Salzburg Festival in Austria. It's a tale of distant love set in the medieval era, and it has been hailed as a modern masterpiece by the cultural elite. But why is it that this opera, with its esoteric themes and highbrow appeal, has become a darling of the left? The answer lies in its ability to tick all the right boxes for those who champion diversity, multiculturalism, and a disdain for traditional values.

First, let's talk about the composer, Kaija Saariaho. A Finnish woman in a male-dominated field, Saariaho represents the kind of diversity that the left loves to celebrate. Her success is seen as a triumph over the patriarchy, and her work is often praised for its ethereal and otherworldly qualities. This is music that doesn't conform to the traditional structures of opera, and that's precisely why it appeals to those who reject the status quo.

Then there's the libretto by Amin Maalouf, a Lebanese-born French author. His involvement adds a layer of multiculturalism that the left can't resist. The story of "L'Amour de loin" is based on the life of the 12th-century troubadour Jaufré Rudel, who falls in love with a countess he has never met. It's a narrative that transcends borders and cultures, and it speaks to the left's ideal of a world without boundaries.

The opera's themes of longing and unattainable love resonate with those who see themselves as outsiders in a world that doesn't understand them. It's a story that appeals to the left's sense of victimhood and their belief that they are fighting against an oppressive system. The idea of love from afar, untainted by the realities of everyday life, is a romantic notion that fits perfectly with their utopian vision.

Moreover, "L'Amour de loin" is often performed in prestigious venues like the Metropolitan Opera in New York, where it attracts an audience that prides itself on its cultural sophistication. This is not an opera for the masses; it's an exclusive experience for those who consider themselves part of the intellectual elite. The left's love for this opera is a reflection of their desire to distance themselves from the common folk and align themselves with the cultural aristocracy.

The music itself is a departure from the traditional operatic form, with its use of electronic elements and unconventional harmonies. This avant-garde approach is a rejection of the classical norms, and it mirrors the left's disdain for anything that smacks of tradition. It's a celebration of innovation and a challenge to the established order, which is exactly what the left loves to champion.

Critics of "L'Amour de loin" might argue that it's an opera that prioritizes style over substance, but for the left, that's part of its appeal. It's a work that allows them to showcase their cultural credentials without having to engage with the messy realities of the world. It's art for art's sake, and it provides a convenient escape from the challenges of everyday life.

In the end, "L'Amour de loin" is more than just an opera; it's a symbol of the left's infatuation with diversity, multiculturalism, and a rejection of traditional values. It's a love affair that shows no signs of waning, and as long as there are operas like this one, the left will continue to find solace in their elitist cultural pursuits.