Disordered Heroes in Opera A Psychiatric Report
Disordered Heroes in Opera: A Psychiatric Report by John Cordingly, published by Plumbago Books in 2015, explores the intersection of psychiatry and opera through a detailed examination of twelve operatic heroes categorized by personality disorders. This edition, comprising 203 pages, presents a unique perspective by tracing the histories of mental disorders, sexuality, and cultural contexts relevant to each character, arguing against the notion that these figures are merely ‘mad’.
Readers will find an insightful analysis of characters such as Otello, Iago, and Don Giovanni, each scrutinized within their operatic narratives and psychological frameworks. Cordingly’s work delves into the professional treatment required according to modern psychiatric criteria, while also comparing these operatic figures to real-life cases. The book addresses themes of psychopathology and personality disorders, making it a significant contribution to both the fields of psychiatry and musicology.
Official synopsis Publisher
The psychiatrist John Cordingly examines twelve operatic heroes under six sub-categories of personality disorder, placing them within the histories of mental disorder, sexuality, Byronismand their cultural contexts.
The retired psychiatrist and former music graduate John Cordingly examines twelve operatic heroes under six sub-categories of personality disorder. He justifies his view that they are not ‘mad’ by tracing the histories of mental disorder, sexuality and Byronism, and by placing each opera within its cultural context. He also considers what professional treatment is needed according to modern criteria.
His gallery of heroes includes the hubristic Otello and Godunov, the psychopathic Iago and Claggart, the schizoid Wozzeck and Grimes, the borderline Werther and Herman, the narcissistic Don Giovanni and Onegin, and the repressed and melancholic Faust and Aschenbach. Each is considered within the overall design of their respective work. Cordingly also probes the reception of each opera and draws comparisons with cases from life. The book is a landmark in being the first of its kind and weaves a fascinating tapestry of concerns. It is also eminently readable.
JOHN CORDINGLY (author) is a Fellow of the Royal College of Psychiatrists. CLAIRE SEYMOUR (editor) is Head of Senior College at Queen’s College London and the author of The Operas of Benjamin Britten [Boydell Press].
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