The second opera of my Santa Fe trip was that Puccini “spaghetti western,” The Girl of the Golden West. This opera has never achieved the same exalted status accorded the other Puccini’s masterpieces such as La boheme, Tosca, or Turandot. I can only speak for myself — I consider Fanciulla great theatre, and certainly one of my favourites. When in the right hands – or should I say right vocal cords — it’s a marvelous evening at the opera. I had the great good fortune of hearing Renata Tebaldi as Minnie in New York, way back in 1970 when I was still a student. Who could forget the dramatically galvanizing poker scene of Act 2, or her searing vocalism? Ever since that memorable experience, I’ve always looked out for an opportunity to attend this opera wherever I can, which is not often enough. I do realize my love for the Puccini horse opera is not universally shared. But this Santa Fe Opera revival was such a good show that even my Fanciulla-hating opera companion on this trip had a conversion, an epiphany of sorts, after Act Two!
The Santa Fe Opera’s Fanciulla is a co-production with English National Opera, directed by the Brit Richard Jones, whose previous works have won kudos. The set isn’t quite 1860’s California Gold Rush style. It’s more of a mix from different time periods, some of it a bit incongruous such as the use of fluorescent lighting, the stylish sconces on the wall, and the stand-alone safe with a combination lock! Perhaps the most problematic aspect of this production is the lack of the feeling of nature so important in this opera. There’s little suggestion of the wild west or the vast expanse of outdoors and of nature in general. Many Santa Fe Opera productions have the back of the stage open, allowing the audience a glimpse of the grand vista, the magnificent New Mexican landscape. Fanciulla is an ideal candidate for such a treatment, especially in Act Three. The staging of the mob scene and the lynching of Ramirrez gives little hint of the outdoors. A real opportunity lost.
American soprano Patricia Racette sang the title role, with British tenor Gwyn Hughes Jones as Dick Johnson, and American baritone Mark Delavan as Jack Rance. This opera rises and falls with its heroine. Without question, Racette has the force of personality and stage allure to be a compelling Minnie. After a career that’s more than a quarter century long (she debuted in 1988), Racette has given up the more lyrical roles such as Mimi and Leonora in favour of the more dramatic soprano roles such as Minnie and Giorgetta. Her Minnie has just the right mixture of dramatic, steely vocalism and feminine warmth. The top register has lost some of the sheen and purity of tone, and sometimes the vibrato can take over, but there’s no shortage of her consummate artistry and dramatic thrust. The mezza voce in the middle voice remains lovely. Her best moments were a nicely delivered “Laggiu nel soledad” and the more contemplative moments of Act One. The arioso she sang to the miners in Act Three was meltingly beautiful. Her poker scene was dramatically compelling, making a big sound but without resorting to excessive chest voice. It was an altogether winning performance.
As Dick Johnson, tenor Gwyn Hughes Jones sang with clarion power and a bright, forwardly produced sound and a free top register. His exceptional “Ch’ella mi creda libero” would have brought down the house if there was a pause in the orchestra to allow for an ovation. Jones is quite a burly fellow, but he moves well on stage, and he has good chemistry with his Minnie. The extended love duet in Act Two was excitingly delivered by Racette and Jones, made even more so as an approximately one minute’s worth of music, loaded with high notes and almost always cut, has been restored in this production. These two singers have certainly earned their fee!
Santa Fe Opera audience favourite American baritone Mark Delavan was a striking Jack Rance, singing with ringing tone and a totally secure top. The men’s chorus, so important in this piece, was exemplary, with all the cameo roles very well taken. That being said, I do find some of the highly choreographed movements for the chorus in Act Three a bit over the top — I felt like I was watching a Broadway musical! With English translations at the push of a button, there’s no avoidance of some of the quaint — yes, rather embarrassing — dialogues in Act One. I suppose, in the final analysis, one must accept that this is a period piece, and there’s no point in scrutinising it too closely with our 2016 lens. French conductor and Dallas Opera music director Emmanuel Villaume conducted with passion and lyricism, making a truly compelling case for more revivals of this Puccini gem. Highly recommended.
#LUDWIGVAN
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