Giordani, Marcello


TurandotGiacomo Puccini - Turandot

Metropolitan Opera, New York, 2009 | Andris Nelsons, Franco Zeffirelli, Maria Guleghina, Marcello Giordani, Marina Poplavskaya, Samuel Ramey, Charles Anthony, Joshua Hopkins, Tony Stevenson, Eduardo Valdes | Decca

It wouldn’t be entirely accurate to say that Turandot is an underrated opera, but its most famous aria, ‘Nessun Dorma’, has tended to overshadow the other qualities that the work has to offer. Puccini’s final opera (the last scene completed after his death by Franco Alfano) also has more to it than a superficial look at the fairy-tale nature of the story – based on a work by the 18th century Venetian dramatist Carlo Gozzi – might suggest, or indeed the exotic Oriental inflections of the opera’s music score. Turandot actually contains some of Puccini’s finest musical compositions, the composer bringing his considerable talent to bear on the overall structure and arrangement, while also finding – as he always does – beautiful melodies that express a depth of emotion and character that one might not expect to find in the piece.

There’s a human heart in the story of a cruel princess, Turandot, who demands that anyone seeking her hand in marriage must first give the answer to three riddles that she sets – and where there’s a human heart, few are as expressive as Giacomo Puccini. Despite the consequence of failure being beheading, many noble princes have tried and failed to answer the riddles set by Turandot, and the deaths of so many have cast a long and bloody stain on the Emperor’s reign and despair on the people of his kingdom. An unknown prince however is determined to take his chance, despite the dangers, despite the warnings from the royal court, and despite the pleas of those closest to him, one of whom is Liu, a slave girl who is in love with him.

Puccini sets up the nature of this situation beautifully in Act 1, capturing the full range of the conflicting sentiments of each of the main players, and if the actual staging of the riddle contest in Act 2 is less than perfectly arranged, it’s an occasion for a terrific duel of singing voices between the soprano and the tenor. Although it seems like we have to wait until Act 3 to fully understand what is at stake (and get Nessun Dorma), there are nonetheless hints to the nature of the characters and the conflicting issues between them in the answers to the riddles. It’s hope that lies within Calef, but it is due to die at dawn, his answers to the riddles having failed to melt the burning ice of Turandot, and it’s only through the blood of Liu that the situation is resolved and the true nature of love is revealed. If this doesn’t quite add up to full character development, the beauty of Puccini’s musical arrangements makes up the difference. The Oriental touches are not merely pastiche either – Puccini seems to understand the nature of this foreign and discordant music and the sentiments that lie within it, and he meaningfully and skilfully weaves it into his score to great effect.

Franco Zeffirelli’s lavish production for The Met could also be accused of extravagance, kitsch and overstatement, but in reality it’s perfectly in keeping with the tone and the nature of Puccini’s drama. Zeffirelli’s huge sets capture the grandness of the occasion, the decadence of the royal court and the magical qualities of the fairy-tale nature of the subject, but it also pays attention to the details in the costume design, as well as in the position of the characters within the sets and in relation to one another. Those qualities are also borne out in the performance of the Metropolitan Orchestra conducted by Andris Nelsons, who grasp the full force and dymanic of this extraordinary opera, and in the singing performances from a fine cast. Guleghina and Giordani play well together and rise to the exceptional demands of their roles, but it’s Marina Poplavskaya who positively shines as Liu. Poplavskaya can sometimes be a little inconsistent and out of her depth in certain roles, but she has a great emotional quality in her voice and it comes through here brilliantly. In every respect this production is just magnificent – there’s no other word for it.

The Blu-ray release from Decca has an unfortunate fault with the English subtitles – at least on the initial batch of copies. English subtitles are a full 37 seconds out of sync with the voices, though they seem fine on the other languages (I got by on French). The subs work fine if you access Act 3 directly from the chapter menu (if you want to get to Nessun Dorma, for example), but they cannot be made to synchronise for any of the other acts through this method. It’s a pity, because in all other respects, this is a superb High Definition presentation of the Met’s 2009 Live in HD recording that brings out the full colourful glory of Zeffirelli’s production, and packs a punch on the HD sound mixes. The recording keeps the same format as the HD Live broadcasts, introduced here by Patricia Racette, who also conducts interviews with Maria Guleghina, Marcello Giordani, and Charles Anthony during the interval between Act 2 and 3.

FanciullaGiacomo Puccini - La Fanciulla del West

The Metropolitan Opera, New York | Nicola Luisotti, Giancarlo del Monaco, Deborah Voigt, Marcello Giordani, Lucio Gallo | The Met: Live in HD - January 8, 2011

The staging of La Fanciulla del West in the current season of the Metropolitan Opera and its broadcast around the world as part of their The Met Live in HD programme, was to commemorate the 100th anniversary of Puccini’s American opera. Based on a play by famed American theatre impresario David Belasco, “The Golden Girl of the West”, the first ever performance of the opera at the Met was directed by Belasco himself, conducted by Arturo Toscanini, with Emmy Destinn as Minnie and the great Caruso as Dick Johnson, with Puccini himself in attendance. The elaborately period detailed Giancarlo del Monaco production from 1991 was revived for the occasion of the anniversary of one of Puccini more intriguing operas, if perhaps not one of his best.

Dating from 1910, it’s not inaccurate then to consider La Fanciulla de West as the first “Spaghetti Western” (although such racial stereotyping was played down here, as were some of the rather crude racial references to Native Americans and the Chinese in the actual opera, at least in the subtitled translation). The opera, based on Belasco’s play, certainly establishes a few of the traditional characters and set-pieces that would become familiar in Hollywood Westerns down through the ages, and these are certainly retained with the traditional, and perhaps even knowing, nature of the Met’s production. The saloon, complete with moose-head for target practice, is established as the perfect place to introduce the characters in Act 1. Set in a Californian mining camp around 1850, the men are prospectors, forty-niners, some of them gamblers playing poker, some of them cheating – leading to the inevitable bar-room brawls and shoot-outs – while others long for the folks back home and take comfort in bible lessons. All of them however are in love with the only woman in the place, Minnie, who works at the Polka bar.

Unfortunately, Puccini can’t bring anything deeper than this out of the elements and the storyline is consequently little more than a basic love story that plays out between two pretenders for the barmaid’s hand, the sheriff Jack Rance, and newcomer Dick Johnson, who is reality is an outlaw known as Ramerrez. Puccini is of course the master of the love story, particularly the tragic love story where life throws almost insurmountable difficulties at an unexpected love that has just freshly blossomed, but while there is some clever use of metaphor for those sentiments in the mining occupation of the prospectors – the only treasure all of them want above all the gold in the mountains is Minnie’s love – the storyline elsewhere is fairly run of the mill, the drama being around whether it will be an outlaw who steals that particular “treasure” from the virginal Minnie.

Fanciulla

Puccini however attempts rather more sophistication in the music itself, modernising his writing, mindful of the impact of Wagner while at the same time keeping those familiar melodic traits and crescendos that hit the expected emotional high notes. If it’s not quite to the same depth or complexity in the characterisation of his romantic hero and heroine this time, and there are no memorable arias comparable with Tosca, La Bohème or Madama Butterfly, the singing does however manage to express a longing and an emotional life to the characters that would otherwise be invisible behind the tough, weathered exteriors of the hard-life and deprivations they have suffered being so far away from home, living in the hope of something better.

As Deborah Voigt acknowledged in the interview during the interval of The Met Live in HD broadcast, Minnie is consequently a rather more challenging singing and dramatic role, and not suited to the typical heroine of a Puccini opera. Voigt fits the bill well as Minnie, noted for her Strauss and Wagner roles, but having some of the gentler lyrical qualities of a Puccinian lyrical soprano. While the demands of the role and the performance took their toll on some of the high notes of the Act 1, Voigt hits the emotional force of all the key moments in Act 2 – where the opera really comes together – bringing out the full depth of Minnie’s personality while retaining the vulnerability of her position. Lucio Gallo reprises the role of sheriff Jack Vance that he performed for the rather camp Nikolaus Lehnhoff production at the Nederlandse Opera last year (reviewed on Blu-ray here), giving it a little more spice as the baritone baddie, all but twirling his moustache. Marcello Giordani sang the role of Dick Johnson well enough, but never made much of an impression otherwise.

I’ve never been totally sold on La Fanciulla del West as an opera – mainly on account of the rather simple and crude storyline – but it does represent an interesting stage in Puccini’s career and it does indeed have many fascinating musical aspects and melody lines that draw much more out of the work than is evident from the surface impressions given by the characters. La Fanciulla del West is perhaps a Puccini for those who don’t normally like Puccini, but without the usual sureties of a typical Puccini opera, it’s also consequently more difficult to make it work effectively. I haven’t seen a production I’ve been entirely happy with – though I’m sure it can be done – but, particularly in its impressive second Act, the Met’s 100th anniversary staging was a fine effort nonetheless.