Giacomo Puccini - La Fanciulla del West
Nederlandse Opera 2009
Carlo Rizzi, Nikolaus Lehnhoff, Eva-Maria Westbroek, Lucio Gallo, Zoran Todorovich, Roman Sadnik, Diogenes Randes
I haven’t so much as blinked at some modernised productions of operas set in the most unlikely of environments, but somehow I’ve never been able to get my head around the idea of an opera set in the Wild West - and yet that’s the original setting for Puccini’s La Fanciulla del West. So if the Nederlandse Opera want to update the theme of the quest for gold conflated with the treasure of a virginal young woman into the more modern-day setting of Wall Street (references to pickaxes, mines and Wells Fargo notwithstanding), well, in principle, that’s fine by me - there’s no reason why, with a bit of invention and imagination, that shouldn’t work …and even if the opera opens in what looks like a leather gay bar, well, you know, I wouldn’t necessarily see that as unlikely in this Puccini opera, particularly when Johnson makes his entrance among all those rugged men at the Pink Flamingo (I think it’s called that) asking who is going to curl his hair… And wait until you see the set for Act 2! There’s more camp here than a Red Indian Reservation.
La Fancuilla del West isn’t ever going to be considered one of Puccini’s best operas. It’s not his most memorable composition and with a subject that seems better suited to a Rogers and Hammerstein musical, it doesn’t lend itself to the same highs and lows of love, passion and betrayal that you’ll find in Madama Butterfly, La Bohème or Tosca. It certainly doesn’t seem to be the best vehicle for the seriousness of purpose of the composer towards adapting to new modern styles of composition. The Rogers and Hammerstein comparison isn’t really fair however (and a bit snobbish), nor is the criticism that Puccini has abandoned the beautiful melodies of his former work. And if this production, conducted by Carlo Rizzi and directed for the stage by Nicholaus Lehnhoff, brings out anything, it’s the qualities of the score and the varieties of tone that have a delicacy that belies the rather crude narrative and unimaginative storyline.
As for the production, well, I’m afraid it just doesn’t work. If the director had really been committed to going for the Wall Street idea and really set it in modern financial district locations, the production might have been pulled it off (as Michael Haneke did with his production of Don Giovanni for the Paris Opera a few years ago), but this staging is half-hearted and uncommitted, a widescreen Technicolor tribute to Americana that has little rhyme or reason, resulting in the usual hodgepodge of anachronisms. It’s already a Western - how much more American does it really need to be? The playing however is fine and the singing generally good, Eva-Maria Westbroek demonstrating the qualities that Puccini manages to bring to the role of Minnie.
The image quality of Opus Arte’s Blu-ray release isn’t as impressive as other HD presentations, the bold coloured lighting not allowing a lot of detail to be shown, but there are no real issues with the transfer either. Much more important, and where opera on Blu-ray really excels, is in the High Definition audio. Here, there’s a DTS HD Master Audio in a 5.0 mix and a PCM stereo track. Both are a little harsh and over-dynamic and it’s hard to find the right volume level - too loud and it’s booming, too low and the singing is inaudible. There is a happy medium however, if you can find it, where the qualities of the performance can be heard. Overall, this is a good performance of La Fancuilla del West and the stage production is nice to look at, but it doesn’t really bring anything new out of the opera.