Postwar Germany: The 1940s and 1950s were tumultuous decades for Germany, and it is unfortunately beyond the scope of a novel to do justice to its nation-shaking events: occupation, reconstruction, political divisions, economic crises, blockade, airlift, partition, etc. in their complexity. Regrettably, these have been only hinted at or omitted, though they could be understood to cause a radical difference in the character, that is, the fears and expectations, of the two generations whose lives are described in the novel.
East Germany: The Deutsche Demokratische Republik (DDR) was a self-declared communist state that existed from October 1949 until October 1990. Soviet occupation troops remained in DDR territory throughout its existence. Berlin, completely surrounded by the DDR, was divided into East and West sectors, with the western portion open to Germany by way of three air corridors and various heavily monitored land routes. Thus, in order to escape the border police (Grenzpolizei), our heroines had to drive first westward to West Germany and then fly eastward back to Berlin.
The world of opera: The author wishes to point out that it is not possible to become an opera star by selling your soul to the devil. I tried, but the devil never returned my calls. A singer achieves an opera career with a) conspicuous talent that does not wear thin after a few years of stress, b) stamina and patience to get through the long period it takes to establish a reputation, c) financial and emotional support during the lean years, d) a good agent, and e) a great deal of luck.
The author apologizes to any actual opera performer who might read this story for making it seem that fabulous engagements follow one after another, week after week, that performers never catch cold, and that it takes only a few short rehearsals before the show goes on. The author acknowledges that rehearsals are grueling affairs that involve hundreds more people than just the opera stars, and that a breathtaking amount of behind-the-scenes work and money goes into a performance. Given the effort it takes to walk up and down stairs in costume and act out a role while sweating and singing very high notes, it would seem unlikely that one could fall in love onstage. But what do I know? The devil never gave me a chance to try. However, all the singers I have asked have said that the pleasure of being “in voice” and “in sync” with fellow performers on a good night is incomparable.
The following operas and choral works were addressed in the novel and are recommended for your enjoyment. If you consider yourself opera-challenged, you might want to start with “Excerpts from…” any of these works.
Tosca: Italian tragic opera. Giacomo Puccini
Ein Deutsches Requiem: German variation on a requiem mass. Johannes Brahms
Die Zauberflöte (Magic Flute): Comic opera. W. A. Mozart
Nozze de Figaro (Marriage of Figaro): Comic opera. W. A. Mozart
Carmina Burana: Scenic cantata and sometimes ballet. Karl Orff
Rosenkavalier: Comic opera. Richard Strauss
Carmen: French tragic opera. George Bizet
Walpurgisnacht: Fictional, never performed anywhere.
Justine Saracen
Mephisto Aria Page 25