Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

European premiere of Unsuk Chin’s Le Chant des enfants des étoiles, with works by Biber and Beethoven

Excellent programming: worthy of Boulez, if hardly for the literal minded. (‘I think you’ll find [stroking chin] Beethoven didn’t know Unsuk Chin’s music, or Heinrich Biber’s. So … what are they doing together then? And … AND … why don’t you use period instruments? I rest my case!’)

Rising Stars in Concert 2018 at Lyric Opera of Chicago

On a recent weekend evening the performers in the current roster of the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago presented a concert of operatic selections showcasing their musical talents. The Lyric Opera Orchestra accompanied the performers and was conducted by Edwin Outwater.

Arizona Opera Presents a Glittering Rheingold

On April 6, 2018, Arizona Opera presented an uncut performance of Richard Wagner’s Das Rheingold. It was the first time in two decades that this company had staged a Ring opera.

Handel's Teseo brings 2018 London Handel Festival to a close

The 2018 London Handel Festival drew to a close with this vibrant and youthful performance (the second of two) at St George’s Church, Hanover Square, of Handel’s Teseo - the composer’s third opera for London after Rinaldo (1711) and Il pastor fido (1712), which was performed at least thirteen times between January and May 1713.

The Moderate Soprano

The Moderate Soprano and the story of Glyndebourne: love, opera and Nazism in David Hare’s moving play

The Spirit of England: the BBCSO mark the centenary of the end of the Great War

Well, it was Friday 13th. I returned home from this moving and inspiring British-themed concert at the Barbican Hall in which the BBC Symphony Orchestra and conductor Sir Andrew Davis had marked the centenary of the end of World War I, to turn on my lap-top and discover that the British Prime Minister had authorised UK armed forces to participate with French and US forces in attacks on Syrian chemical weapon sites.

Thomas Adès conducts Stravinsky's Perséphone at the Royal Festival Hall

This seemed a timely moment for a performance of Stravinsky’s choral ballet, Perséphone. April, Eliot’s ‘cruellest month’, has brought rather too many of Chaucer’s ‘sweet showers [to] pierce the ‘drought of March to the root’, but as the weather finally begins to warms and nature stirs, what better than the classical myth of the eponymous goddess’s rape by Pluto and subsequent rescue from Hades, begetting the eternal rotation of the seasons, to reassure us that winter is indeed over and the spirit of spring is engendering the earth.

Dido and Aeneas: La Nuova Musica at Wigmore Hall

This performance of Purcell’s Dido and Aeneas by La Nuova Musica, directed by David Bates, was, characteristically for this ensemble, alert to musical details, vividly etched and imaginatively conceived.

Bernstein's MASS at the Royal Festival Hall

In 1969, Mrs Aristotle Onassis commissioned a major composition to celebrate the opening of a new arts centre in Washington, DC - the Kennedy Center for the Performing Arts, named after her late husband, President John F. Kennedy, who had been assassinated six years earlier.

Hans Werner Henze : The Raft of the Medusa, Amsterdam

This is a landmark production of Hans Werner Henze's Das Floß der Medusa (The Raft of the Medusa) conducted by Ingo Metzmacher in Amsterdam earlier this month, with Dale Duesing (Charon), Bo Skovhus and Lenneke Ruiten, with Cappella Amsterdam, the Nieuw Amsterdams Kinderen Jeugdkoor, and the Netherlands Philharmonic Orchestra, in a powerfully perceptive staging by Romeo Castellucci.

Johann Sebastian Bach, St John Passion, BWV 245

This was the first time, I think, since having moved to London that I had attended a Bach Passion performance on Good Friday here.

Easter Voices, including mass settings by Mozart and Stravinsky

It was a little early, perhaps, to be hearing ‘Easter Voices’ in the middle of Holy Week. However, this was not especially an Easter programme – and, in any case, included two pieces from Gesualdo’s Tenebrae responsories for Good Friday. Given the continued vileness of the weather, a little foreshadowing of something warmer was in any case most welcome. (Yes, I know: I should hang my head in Lenten shame.)

Academy of Ancient Music: St John Passion at the Barbican Hall

‘In order to preserve the good order in the Churches, so arrange the music that it shall not last too long, and shall be of such nature as not to make an operatic impression, but rather incite the listeners to devotion.’

Fiona Shaw's The Marriage of Figaro returns to the London Coliseum

The white walls of designer Peter McKintosh’s Ikea-maze are still spinning, the ox-skulls are still louring, and the servants are still eavesdropping, as Fiona Shaw’s 2011 production of The Marriage of Figaro returns to English National Opera for its second revival. Or, perhaps one should say that the servants are still sleeping - slumped in corridors, snoozing in chairs, snuggled under work-tables - for at times this did seem a rather soporific Figaro under Martyn Brabbins’ baton.

Lenten Choral Music from the Choir of King’s College, Cambridge

Time was I could hear the Choir of King’s College, Cambridge almost any evening I chose, at least during term time. (If I remember correctly, Mondays were reserved for the mixed voice King’s Voices.)

A New Faust at Lyric Opera of Chicago

Lyric Opera of Chicago’s innovative, new production of Charles Gounod’s Faust succeeds on multiple levels of musical and dramatic representation. The title role is sung by Benjamin Bernheim, his companion in adventure Méphistophélès is performed by Christian Van Horn.

Netrebko rules at the ROH in revival of Phyllida Lloyd's Macbeth

Shakespeare’s Macbeth is a play of the night: of dark interiors and shadowy forests. ‘Light thickens, and the crow/Makes wing to th’ rooky wood,’ says Macbeth, welcoming the darkness which, whether literal or figurative, is thrillingly and threateningly palpable.

San Diego’s Ravishing Florencia

Daniel Catán’s widely celebrated opera, Florencia en el Amazonas received a top tier production at the wholly rejuvenated San Diego Opera company.

Samantha Hankey wins Glyndebourne Opera Cup

Four singers were awarded prizes at the inaugural Glyndebourne Opera Cup, which reached its closing stage at Glyndebourne on 24th March. The Glyndebourne Opera Cup focuses on a different single composer or strand of the repertoire each time it is held. In 2018 the featured composer was Mozart and the Orchestra of the Age of Enlightenment accompanied the ten finalists.

Handel's first 'Israelite oratorio': Esther at the London Handel Festival

It’s sometimes suggested that it was the simultaneous decline of the popularity of Italian opera seria among Georgian audiences and, in consequence, of the fortunes of Handel’s Royal Academy King’s Theatre, that led the composer to turn his hand to oratorio in English, the genre which would endear him to the hearts of the nation.

OPERA TODAY ARCHIVES »

Performances

05 Apr 2005

Fanciulla: The Banality of Reality?

Conventional wisdom has it that Puccini’s operatic tale of the wild West, “La Fanciulla del West,” is too melodramatic to be fully credible – a reason it hasn’t joined his “Tosca,” “La Bohème” and “Turandot” in the top-most echelon of audience favorites. And it’s true that there are lots of things in it that seem silly today (like a bunch of weepy, childlike gold miners singing in Italian) or even offensive, like American Indians whose pidgin vocabulary frequently includes “ugh!”

Nuggets of True Romance, With Weepy Gold Miners Singing in Italian

By ANNE MIDGETTE [NY Time 3 Apr 05]

Conventional wisdom has it that Puccini's operatic tale of the wild West, "La Fanciulla del West," is too melodramatic to be fully credible - a reason it hasn't joined his "Tosca," "La Bohème" and "Turandot" in the top-most echelon of audience favorites. And it's true that there are lots of things in it that seem silly today (like a bunch of weepy, childlike gold miners singing in Italian) or even offensive, like American Indians whose pidgin vocabulary frequently includes "ugh!" . . . .

The real Achilles' heel of "Fanciulla" may not be that it is over the top or dated, but that the romance it depicts is too real, its characters too flawed, and under their patina of local color, even too familiar. Which makes this opera all the more worth seeing and certainly hearing, even if ideally it would get a more sensitive production than this one.

Click here for the complete article.


A Rebuttal

I think there are a number of things that conspire to make La Fanciulla del West hard for some Americans to embrace, including a real lack of knowledge of our own history.

David Belasco was the great realist of his generation in the theater. He once purchased an actual Child's Restaurant, a chain somewhat akin to the old Howard Johnson's or the current Friendly's, dismantled it and had it reassembled on stage in New York because a Child's was the setting for a particular play. Melodrama was, of course, a recognized and appreciated form in the American Theater of the time. But how over the top Minnie and Co. actually are depends on your reading of "the Old West." Clearly some astonishing and unusual things went on out there. I think the Donner Party's cannibalism or the High Meadow Massacre during which Mormons exterminated an entire wagon train coming west indicate that just about anything could happen.

Ms. Midgette jeers at Minnie's "single kiss before chastely bedding down in separate bunks." During the high Victorian, whether in a city or in the high Sierras, a woman's virginity was a closely guarded thing. But listen to the feverish, sensuous music as Minnie and Johnson cling to each other after the kiss, punctuated by several highly suggestive gunshots from offstage, to get an idea of what's really going on. Our Minnie may not be as coldly chaste as Ms. Midgette thinks, and she certainly isn't by act three--her month consorting with Johnson during the second intermission is clearly driving Rance wild with jealousy.

As to the miners, Midgette says they seem silly today, "a bunch of weepy, childlike gold miners singing in Italian." Well,they sing in Italian because it's an Italian opera. Do we jeer because Carmen and the other Spanish characters sing in French? Or Verdi's ancient Egyptians sing in Italian? The miners who stampeded westward during the gold rush were frequently lacking in education, many were incredibly young boys, and they all found themselves in a place where only a few would ever find gold and make a fortune. In a highly sentimental age, their emotional vulnerability and total lack of sophistication is not only understandable but can actually be very moving if depicted properly in an opera that's all about loss, isolation, loneliness, and broken dreams. I frequently remind people that the educational and cultural level we have today cannot be assumed for people from the past. Not so very long ago, a grammar school diploma--the equivalent of what Minnie is trying to give her boys, was the highest most people could hope to get and many never achieved it.

I'm glad she recognized the "wonderfully rich, dense score," that many of us feel is Puccini's finest. And she is spot on about the reality of the characters — Rance, for example, is no cardboard heavy but a deeply conflicted, emotionally desperate man. Her point about the characters being "too real, too flawed" for a modern audience could be right on the button. At Carnegie Hall a large part of the audience walked out after the first act of Donizetti's Marin Falliero because they had been given a libretto and could see there were no conventional love duets and no climactic mad scene for the soprano — merely a deeply human drama with a serious, not happy ending. The population embraces "reality shows" that are ludicrous for their actual lack of anything real or human. In Fanciulla the characters are in our faces, they hurt us and make us think and yearn and feel loss. That's what art's all about.

William Fregosi


La Fanciulla del West in Full Score

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):