The big ‘ O ’ in opera

Sexuality and eroticism are present in all of opera’s interwoven ‘layers’, broadly: drama, music and singing. Interaction with the resulting whole evokes an emotional response in the listener/audience that is erotic in nature. Lacanian psychoanalytic theory pertaining to the gaze and, in particular, the voice provides a useful framework to explore the sexuality and eroticism within and beyond opera. This exploration will focus primarily on the voice and the dramatic narrative ‘layer’ with reference to the erotic nature of a listener’s pleasure in response to the operatic voice. Neuroscientific research has found that the ‘reward system’ of the brain among other areas is activated when listening to music; some of the same areas are activated as those during sex. In addition, music is processed by some of the same areas as language. These findings may provide support for Lacanian theory as applied to opera, as well as indirect support for the erotic nature of a listener’s pleasure in the quest to (re-)encounter the lost vocal object. This neuropsychoanalytic approach reviews the author's ongoing research that attempts to gain insight into the way in which opera is processed in the mind and brain.