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New York Times, 21 October 2013 |
By GEORGE LOOMIS |
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Puccini, La fanciulla del West, Wiener Staatsoper, 5. Oktober 2013 |
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The Wild West, Puccini Style |
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VIENNA — Any director who stages “La Fanciulla del West” has got to be
tempted to tamper with its setting. Puccini based his opera on David
Belasco’s play, “The Girl of the Golden West,” about the blossoming of true
love in a California mining town during the gold rush, circa 1850.
Yet golden or otherwise, the West is so deeply woven into the fabric of the
opera that comparisons with Western imagery is inevitable. There is a saloon
where whiskey is drunk “neat,” a hero-bandit who overcomes his deviant ways,
a high-stakes poker game and, finally, a ride into the proverbial sunset.
For Puccini admirers, “Fanciulla”— the first opera to have its world
premiere at the Metropolitan opera, in 1910 — is a work of great musical
richness but one eclipsed by the popularity of operas the composer wrote
earlier. Yet its story is constructed around a familiar operatic
love-triangle. Minnie, a woman who exists amidst a throng of miners, may
lack the vulnerability of other Puccini’s soprano heroines, but her love for
the tenor, Dick Johnson, redeems him from his criminal past, while the
baritone, Sheriff Jack Rance, lusts after her in vain.
By rights, “La
Fanciulla del West” ought to be accepted as readily as “Madama Butterfly”
and “Turandot,” as an opera with an exotic setting reinforced by dabs of
local color, but its Western details keep emerging as cliché-ridden
distractions. It would be a fool’s errand to insist on downplaying them, but
at least a production can avoid matching them with an equally cliché-ridden
set. Marco Arturo Marelli, in his generally persuasive new production at the
Vienna Staatsoper, updates the action to roughly the present day yet keeps
it securely rooted in the West. Puccini’s saloon operates from a trailer
wheeled into a three-tiered encampment made of corrugated metal, where
miners not only carouse but also freshen up after the day’s work and hang
out. A nostalgic song, which makes one of the minders homesick, is heard
from a cassette player, yet Sheriff Rance wears a fancy black Western shirt,
and Act 3 brings a panoramic view of an unmistakably Western vista (Mr.
Marelli also designed the sets and lighting).
No less a figure than
the twelve-tone master Anton Webern in a letter to his mentor Arnold
Schönberg, extolled the score of “Fanciulla” for its “entirely original
sound throughout — brilliant, every bar a surprise.” It is full of
modernistic touches, which are worked into Puccini’s overall style so
skillfully that they might be overlooked. Even Debussy turns up as an
influence (Puccini saw “Pelléas et Mélisande” and was taken by it) — music
based on whole-tone scales is frequent. Time and again you think you know
what is coming harmonically, only to hear a chord of unexpected complexity
instead. The Americanisms built into the music are also appealing, including
a cakewalk and a simple but infectious waltz that has the hint of a folk
song and accompanies Minnie and Dick Johnson’s first dance. The
orchestration is brilliantly colorful.
The Staatsoper offers a
glorious opportunity to hear the music. The orchestra (whose members also
constitute the Vienna Philharmonic) plays superbly under Franz Welser-Möst,
who knows how to shield the voices from it yet lets it resound excitingly as
the occasion demands. And the singers could hardly be better.
Nina
Stemme, best known for her splendid Wagnerian portrayals, shifts to Minnie
with ease. Although curiously costumed (by Dagmar Niefind) — she bounces in
at her first entrance with red hair and overalls looking like Raggedy Ann —
she soon has an arresting moment when, in teaching the miners about the
bible, she becomes transfixed by the concept of forgiveness of sin, thereby
foreshadowing the transformation of Dick Johnson. Ms. Stemme goes on to
chart the development of Minnie’s character into a mature woman
convincingly, and her voice — rich and true — sounds every bit as idiomatic
in Puccini’s music as it does in Wagner’s.
Jonas Kaufmann, with ample
experience balancing German roles with Italian ones, sings Dick with
burnished tone that is possessed of both heft and ring. It is hard to
imagine the waltz tune sung more ardently, and one admires the beauty and
restraint, in lieu of grandstanding, that Mr. Kaufmann brings to the opera’s
one distinct aria, “Ch’ella mi creda,” sung as it appears he is about to be
lynched.
The character of Jack Rance is tricky, because his
frustrated passion for Minnie is so strong that it can deflect the emotional
focus away from the lovers. First, Rance loses a rigged poker game meant to
decide Minnie and Dick’s fate, then he must watch helplessly as they achieve
happiness together. Tomasz Konieczny sings strongly, with a snarl to the
voice as appropriate, but Mr. Marelli errs centering on Rance at the end,
who points a gun to his head as if suicide is next.
Better to have
the lovers simply sail off together, as they do literally here in a colorful
hot air balloon. It must be Mr. Marelli’s way of acknowledging the
Hollywood-like ending, but it is modest compared with Nikolaus Lehnhoff’s
staging in Amsterdam four ago (to be seen at the Paris Opera this season),
which had a blond and glamorous Minnie, dressed in a strapless gown, make
her third act entrance descending a staircase while MGM’s roaring lion was
projected above. In any case, “Fanciulla” will always summon visions of
Hollywood, and perhaps once in a while, if you can’t beat them, it may
indeed make sense to join them.
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