Editor's Desk

I Fanciulli del Met

(Observations, Performances, Louise Guinther) Permanent link

One of the particular pleasures of my duties at OPERA NEWS is the privilege of attending final dress rehearsals at the Met. If anyone had told me as a young teenager, when I was first bitten by the opera bug, that some day going to the opera would be part of my job, I would have been in a much bigger hurry to grow up.

Of course, just getting to sit there for free in a red-plush seat (during the work day, no less) watching the great vocal artists of our time ply their trade is a pretty nifty perk in itself. But for me, a big part of the fun nowadays is being present along with a whole balcony-full of young people as they discover opera — many of them, no doubt, for the first time.

Last week, the Met revived Gian Carlo del Monaco's lively spaghetti-Western production of Puccini's brilliantly colorful and dramatic, achingly sentimental Fanciulla del West. It gave me a great kick to sense the surprise and excitement of those youngsters as they realized that this elevated art form had room in it for lusty barroom brawls, live horses and gunslinging women holding their own in an overwhelmingly male world. There was a distinctly twenty-first-century-feminist tinge to the audible reaction from the peanut gallery when Minnie first pulled her tiny pistol out of her bosom to fend off the advances of Jack Rance. And there's definitely something to be said for straightforward realism, especially where new audiences are concerned. I strongly doubt that if Minnie and Dick Johnson had appeared in some high-concept production, in the guise of, say, apes or bumble bees, the kids in the family circle would have burst into spontaneous, giggly applause when the heroine surrendered to her first kiss, or cheered her so heartily when she arrived just in time to free him from the posse.

There are times when audience noise can be a most unwanted distraction. (At that very same rehearsal, one fan was so eager to share his admiration of Marcello Giordani's "Ch'ella mi creda" that he shouted "Bravo!"at the top of his lungs just as an emphatic chord from the orchestra punctuated Jack Rance's punching the unfortunate Johnson in the gut. This musically and dramatically misplaced interruption gave the effect that the shouter was encouraging the sheriff's brutality.) The irrepressible and instinctively appropriate responses of the schoolchildren at the back of the house, on the other hand, lent an added charge to the proceeding that enhanced the experience for at least one jaded operagoer down in the orchestra section. spacer 

LOUISE T. GUINTHER

 


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Current Issue: August 2014 — VOL. 79, NO. 2