"Said on Opera" is an  insightful analysis of four major operas presented by Edward W. Said, whose intellect and critical acumen have  combined literary criticism, cultural analysis, and political engagement in a unique and influential way. Delivered initially as the Empson Lectures at Cambridge University in 1997, this collection, curated with a new introduction by Wouter Capitain and complemented by a masterful foreword from the acclaimed opera director Peter Sellars, marks a significant posthumous contribution to understanding opera in its multifaceted dimensions.

Edward Said, best known for his groundbreaking work "Orientalism," has been a pivotal figure in cultural studies, advocating for a nuanced understanding of the East-West dichotomy, and arguing  that the West constructed a false and exoticized image of the Middle East, which served to legitimize its dominance over the region. Additionally, Said's forceful defense of secular humanism, and his advocacy of the Palestinian cause made him one of the most internationally influential cultural commentators of his time. 

In "Said on Opera", he extends his critical horizon, by exploring the intersection of music, politics, history, and literature in four iconic operas: Mozart’s Così fan tutte, Beethoven’s Fidelio, Berlioz’s Les Troyens, and Wagner’s Die Meistersinger von Nürnberg. 

Said interrogates the operas' engagement with power structures, individual agency, national identity, and the complexities of human emotion and societal norms, thereby enriching our understanding of these compositions while also engaging with the social and political questions of their era.  Furthermore, his analysis also  “addresses the responsibility of reinterpreting historical works and highlights the interdependence between the arts, representation and their sociopolitical ramifications.” 

Peter Sellars explains how Said questions the operas’ engagement with the dynamics of power that shape their contexts. 

“In Così fan tutte, he considers the representation of individual agency and autonomy. In chapter two , he presents Fidelio as a fractured opera that reflects Beethoven’s struggle when trying to combine words and music together in a for-him exceptional non-instrumental work.In Les Troyens, the driving force is war as conquest against inferior other, thus giving this ancient story about the Trojan war a contemporary resonance within a nineteenth-century  context of imperial expansion. Lastly, in chapter four, Said engages  with debates about Vagner’s deeply problematic legacy and tries to extend  the pre-Holocaust German nationalistic sentiment in Die Meistersinger to a more universal fear of the loss of tradition.”  To today’s audience this presents no particularly aspect of public discourse  since it seems to be there in every kind of nationalist and/or identity politics. 

"Said on Opera" is a compelling read for opera enthusiasts, scholars, and students alike. It stands as a testament to Said's erudition and his ability to traverse disciplinary boundaries, offering a richly textured, nuanced appreciation of opera. Through Said's interpretive lens, the book not only enriches our understanding of the operas discussed but also invites readers to consider the broader societal, political, and cultural implications of the art form, thus reaffirming the enduring power and relevance of opera in contemporary discourse.