The whole is equal to the sum of its parts

Opera is comprised of music and text – the libretto. The composer chooses the subject for his work – a story or perhaps a play.  He may also accept an appropriate subject that some outside source has suggested.  In either case, the music is matched to the story. This includes time, place and historical period. Mascagni’s opera Cavalleria Rusticana for example, takes place in Sicily around the turn of the twentieth century. The society is agrarian. The story is rather simple. A young man from a village who was in love with a girl from the same village goes off to war.  When he returns he finds that his beloved has married someone else. He, in turn, enters in a liaison with another woman who becomes pregnant with his child though they are not married. The society shuns and ostracizes her. The young man however, maintains a secret and forbidden relationship with his former love. The jealous, rejected woman, informs the cuckolded husband.  During the festivities of the Easter holiday, the husband publically challenges the lover to a duel and kills him.  The themes in this drama are age-old and have been dealt with, by many. However, in Mascagni’s opera, the setting is specific.  It is Easter Sunday; the townspeople, are dressed in their finest clothing.  They have congregated in the village square to celebrate the holiday after having come out of the church service.  The society is Roman Catholic and is religious. The setting is specific and detailed. Mascagni’s music is intended to depict this atmosphere fully.  It is his vision, and only his. Yet I have seen a production of this classic where the action takes place in a stone quarry. Easter Sunday in a stone quarry? Religious Roman Catholics celebrating this sacred holiday in this way? Every reference in the opera negates this interpretation. But this is common practice in the opera houses of today. Many producers and stage managers disregard the specific instructions of the composer. They violate the very spirit of the work. The music may not be divested of the role for which the composer himself intended it; the music and text are inextricably combined. The example is intended to point out the ludicrous results of tampering with the original concept of the composer. It proposes to illustrate that indeed, the whole is equal to the sum of its parts.

Anatomy of an Aria

Arias are usually written for principal singers in an opera.  It is rare and infrequent that a minor character is assigned to sing an aria.  Such an occurrence presents itself in Act IV of Puccini’s La Bohème in the person of the philosopher, Colline.   He is one of four friends who share a garret in mid-nineteenth-century Paris and is the least prominent.  Except for Rodolfo, he is the only one to sing an aria, ‘Vecchia zimarra’ (Venerable coat) Vecchia zimarra.  It is brief and it is seemingly out of place in the closing moments of the opera. Like “Vissi d’arte” in Tosca, some might consider it superfluous, However, if Puccini included it in the work, he had his reasons. Consider the accompaniment.  It is slow and plodding; clearly, it is a dirge.  Mimi’s death is impending. Colline wishes to be part of the effort made by Mimi’s friends, to save her life. In the aria, Colline expresses his deepest feelings, not for the old dilapidated coat he purchased in the opening moments of Act, II but for Mimi. He addresses his remarks to an inanimate object but he is really talking to Mimi.  In psychological terminology, Colline is using displacement as a comfortable way for him to express his deep and close feelings for Mimi. Puccini describes Colline as distant and remote; he is incapable of expressing feelings in a direct way.  Note that in Act II, when Rodolfo magnanimously introduces Mimi to his comrades, Marcello responds warmly and heartily; Schaunard and Colline both greet Mimi in Latin – remote and uninviting. Schaunard uses one phrase, Colline, two. Colline is twice as removed as Schaunard. In Act IV, Colline addresses the warn-out coat in the warmest of terms.  One wonders how anyone can, realistically, become so attached to a second-hand item that was purchased just a few, short months before. Pay attention to the musical line. For the phrase ‘Io rest al pian’ (I remain here), the music ascends; for the phrase ‘tu ascendere il sacro monte’ (you ascend the holy mountain), the musical line descends (0:18 – 0:24). The holy mountain is a reference to heaven and ascending it means dying.  However, if the musical lines are reversed as they are in this part of the aria, it means that there is a wish to deny death. The musical theme recurs towards the end of the aria ‘ti dico [ascending] addio’ (I bid you farewell) [descending]. However, here the musical lines appropriately reflect the text. Note too, that the elegant pacing and tempo in the aria approximates or even mimics the frolicking melody in Act II when Colline chimes in Signorina Mimi (0:48 -0:55) to the gay atmosphere created by the introduction of Mimi to the group. In other words, the heretofore remote and emotionally isolated Colline becomes animated in  Mimi’s presence. For him, Mimi’s imminent death will be a terrible loss. This is Puccini’s exquisite way of handling Colline’s deep affection for Mimi. As expressed previously, it is the only way that the shy philosopher could comfortably express his deepest feelings. Is this not genius?

The Flower Song – Fateful or Faithful?

                            

An aria is the chosen vehicle of opera composers for presenting the singer’s vocal prowess to the audience.  Logic would suggest that the composer intentionally places it strategically in the opera, to call attention to an important event that significantly influences the outcome of the drama. Therefore, it is incumbent upon us to understand its meaning relative to its placement in the work. In his opera Carmen, Bizet wrote the beautiful Flower Song for Don Josè to sing in Act II.  Carmen accuses Josè of not loving her.  Josè, as a disciplined soldier, says that he must return to barracks at the sound of the ‘retreat’. Carmen makes him feel guilty for preferring duty to her. At this point, Josè pulls out a withered flower from his tunic and sings of how it lifted his spirits during his imprisonment for having allowed Carmen to escape. He avers his undying love for Carmen.  This is the famous Flower Song. From this point on, the relationship between Josè and Carmen deteriorates; it ends in Carmen’s death by José’s hand at the conclusion of the opera.  Why? What is the significance of the flower, and why does Josè sing the aria at all?  The flower’s importance has its origin in Act I.  Carmen has sung her famous Habanera; she then turns her attention to Don José – the only male who has not clamored for Carmen’s attention.  It is at this point in the score that Bizet introduces the Fate Theme for the first time https://youtu.be/SaypJ4kmYCE (24:08). It appears again as an introduction to the Flower Song in Act II (1:14:29).  Coincidence? Hardly! The appearance of the same theme in two or more places in the score connects them psychologically.   We must address this occurrence in order to understand its employment by the composer; it relates to the unfolding drama.  In Act I Carmen throws a flower at Don José. When he picks it up, she tells José that he can throw it away because it has already made its effect. When José produces the withered flower in Act II, he has, disregarded Carmen’s specific instruction to him in the previous Act and thereby, he violated an unspoken pact between them. According to Carmen love is freely given. José’s hanging on to the flower suggests possession or possessiveness. Carmen interprets this act as proof that José does not love her. Indeed, they are at opposite sides of the spectrum; they are simply unsuited for each other.  José of course, for reasons of his own, does not understand this.  The flower serves each protagonist’s personal needs and in opposite directions. For Carmen, it is an expression of temporal desire. “I am attracted to you. I want you now because Fate has so decreed.” For José, it is a matter of devotion, a sign of being faithful, of belonging. “Fate has determined that we be together.” Bizet’s use of the Fate Theme represents this dichotomy. The Flower Song is the pivot of the entire opera.  In the scene that follows, José seals his fate when he draws his sword on Zuniga, an officer; there is no way for him to recoup. He becomes an outlaw.

26 September 2017

Israel

Composer vs Performer

                                                

Opera Composers have a definite concept in mind when they map out their ideas for a new work. They have purpose, direction, and notion, about its execution.  By the time they have completed their creation, composers have pretty much worked out the fine details that will reflect their thoughts. They express their wishes as regards performance explicitly and specifically in written instructions - stage directions for example.  However, sometimes, the concept is in the very fabric of the work itself. The sensitive implementer – performer, conductor, or stage manager – of the work will look for the relevant identifying indices. The term ‘relevant’ is essential to interpreting the composer’s intention for it involves judgment.  A sound interpretation incorporates as much of the information that is available. Judgement, therefore, is a direct function of the interpreter’s ability to assess the evidence.  Invariably, differences of opinion occur.  The question then becomes which alternative expresses the composer’s concept best.  A good example of this argument is present in Act I of Puccini’s masterful La Bohème.

As they leave his apartment arm in arm, Mimi and Rodolfo sing ‘Amor, amor, amor’.  According to the score, both sing the following notes G, E, and C on the first ‘amor’ and the first syllable of the second ‘amor’. On the second syllable, Rodolfo sings an F and Mimi sings an A. On the first syllable of the final ‘amor’, Rodolfo sings an F and an E on the second syllable; Mimi sings in parallel, an A and a high C. [https://youtu.be/cSuL4u3bOpg  33:21 - 33:39]  In the recorded example, the tenor goes up to the high C. However, Puccini did not instruct him to do so.  Nor did he offer the opportunity as an alternative!  Simply stated, Puccini did not want the tenor to sing the high C. Puccini was a man of the theater so he was well aware of the audience’s thrill to hear the tenor’s high notes and of the latter’s tendency to show off his top.  Was this, then, an omission (deliberate or otherwise)? In order to resolve this issue, we must examine the score as written. We observe that when Rodolfo and Mimi sing in parallel, the combined notes are C – F – A – C; the intervals between notes are a fourth, a third, and a third.  The aural effect is the same as that of Puccini’s introduction of Rodolfo to the audience at the beginning of the opera (‘Nei cieli bigi’ etc. [https://youtu.be/cSuL4u3bOpg 1:53-1:55]) and again, during Rodolfo’s aria just before ‘In povertà mia lieta’ when he introduces himself to Mimi. (21:59 – 22:02).  Puccini carefully thought out the relationship between the three points in his drama. In the introductions, Rodolfo reveals himself, almost in confession. By dovetailing the melody at the end of the Act, Puccini indicates that there is an acceptance, a meeting of the minds if you will, between Rodolfo and Mimi. This interpretation takes into account enough of the clues given by Puccini himself to make the human story believable. The tenor’s high C is irrelevant to the flow of the drama. It is always preferable to follow the composer’s lead and judgment, over other considerations.

  

Creative Closure

                                                 Creative Closure

All human encounters are psycho-dynamically determined.  Opera composers can accomplish this by means of a musical theme that joins the protagonists in the drama. Puccini illustrates this experience beautifully as he conceives the relationship between Rodolfo and Mimi in Act I of La Bohème. [https://youtu.be/cSuL4u3bOpg]. The opening scene finds Marcello, a painter, and Rodolfo, a poet, in their cold garret apartment in Paris.  The bitter cold prevents Marcello from completing his painting, while Rodolfo complains about the pot-bellied stove that does not provide enough heat to warm the apartment. His opening phrase, ‘Nei cieli bigi […]’ (In the big skies […]), is comprised of the following notes. F, B-flat, D, F, F. [1] (1:53-1:55). In his aria ‘Che gelida manina’, (Your tiny hand is frozen […]) later on in the Act, when he is with Mimi, Rodolfo tells her about himself. The brief interlude between ‘E come vivo? Vivo!’ (How do I survive? I manage!) and ‘In povertà mia lieta’ (I am happy in my poverty) is made up of the same melody as above with different notes [E-flat, A-flat, C, and E-flat – in A-flat major] [2] (21:59 – 22:02).  Still later, at the conclusion of the Act, Rodolfo, and Mimi, having fallen in love, sing the beautiful duet ‘O soave fanciulla’ (Oh lovely maiden…). Puccini ends the duet by having Rodolfo and Mimi sing the notes G, E, and C in the key of C major, to the words ‘Amor! A_’ in unison. From the syllable _mor! Amor! Puccini has the singers sing as follows. Rodolfo sings an F and Mimi an A. On the syllable “A” that follows, Rodolfo repeats the F and Mimi repeats the A. On the syllable “mor!” Rodolfo sings an E while Mimi rises to a high C [3] (33:22 – 33:24__33:39). NOTE:  The discussion relates to the written score. The recorded selection above – with the tenor taking the high C - does not reflect Puccini’s instructions!  If we pay careful attention to the numbered time-listings we become aware that in all three the auditory effect is identical and that the intervals between the notes are a fourth, a third and a third.  Puccini’s purpose was intentional. He introduces us, the listening audience, to Rodolfo with the same melody that Rodolfo introduces himself to Mimi. If we listen closely to example [3], we realize Puccini’s intent namely, that by having the lovers sing alternating notes, thereby achieving the same note sequence, they express and cement their love for one another.  This most ingeniously creative measure achieves closure.

6 September 2017

Israel

 

One Phrase, Two Different Impressions

The tone and the inflection of what we express in words is an indicator of our inner soul; they reflect our feelings and intentions. They are signposts of who we are in any given situation. Poets, playwrights, and authors throughout history were aware of this human trait and employed it to describe and further their literary and social ideas. So have artists, sculptors, and choreographers employed this principle each in his own, unique manner, using the instruments of expression that applied to their specific discipline.  The operatic composer too is no stranger to this experience. He uses his musical palette, as is his wont, to describe ever so delicately, a change in mood or feeling in his characters sometimes using the same or similar words. A beautiful example of this sensitivity to detail appears in Act I of Puccini’s La Bohème. Rodolfo the poet is alone in the bachelor apartment that he shares with three friends; he must finish an article he promised to his publisher.  He is not able to concentrate; he is not in the mood. Suddenly, Mimi, the upstairs neighbor knocks on the door supposedly to ask that her extinguished candle be re-lit.  In the ensuing scene the two fall in love.  [https://youtu.be/cSuL4u3bOpg] Puccini delicately describes the changing mood in Mimi’s behavior based on a single phrase uttered by her during the exchange with Rodolfo. No sooner has Mimi exited the apartment with her newly lit candle, she quickly re-enters to the following phrase.’Oh! Sventata, sventata [….] Importuna la vicina’. (Oh! The candle has gone out [….] (18:36 – 18:47) and bothersome neighbor. (19:10 – 19:33).  Note the gay, light-hearted music that accompanies the statements.  Immediately following her aria Mi chiamano Mimi (They call me Mimi), she intends to make a hurried exit ‘Sono la sua vicina [….] d’ora a importunare’. (I am your neighbor [….] at this inopportune hour 29:22 – 29:34). In both instances, neighbor and inopportune are joined.  However, notice the difference in mood between the two. Coincidence?  Not a chance!  The Mimi that came into the apartment has undergone an emotional transformation. Upon her entrance, Mimi was an unknown.  Nevertheless, having revealed herself during her aria, Mimi felt exposed and not in a particularly good light.  Regardless of her soaring aspirations, in the end, Mimi’s flowers were artificial.  ‘Ma I fiori ch’io faccio, ahime, non hanno odore’. (But the flowers I make, alas, have no fragrance). Puccini accurately captured Mimi’s feelings in both instances. Only the sensitive artist can fathom the fragility of the human condition so precisely.  This what makes Puccini the individual so special and the opera composer as an artist, so unique.

Character Development in Opera

The key ingredient in defining the worth or value of an object is to assess its functionality over a relative period of time or usage. The period of assessment must be reasonable; longevity, therefore, is an accepted reference factor to evaluate the object of scrutiny. If this measure of quality applies to inanimate objects, it is even more relevant to human beings. For the opera composer, this feature is crucial to the molding of his characters so that they become believable persona in the drama that he has put to music. Human beings grow and mature along a continuum, usually a lifetime. Every aspect of their personality contributes to the compilation of the final evaluation. In opera, the entire spectrum of behavior, from the beginning to the end of the work, is weighed and accounted for. Opera is a dynamic medium of artistic expression; when people are involved, as they are in opera, the medium takes on psychodynamic implications. The motivation and actions of a Rigoletto, for example, must be understood on the merits of the entire spectrum of his inter-relation with other characters in the opera. There is no such designation as the real Rigoletto- the warm and loving father - unless verified over the long haul of the entire opera. Sadly, this is not the case, though it has been publically stated. A close inspection of the libretto will challenge the notion of the warm and loving father as the real Rigoletto. The reason for this anomaly is that the assessor only considered Rigoletto’s statement in Pari Siamo ‘Ma in altr’uomo qui mi cangio!’ (But, here I become another person!). But, when we reflect on the sum of Rigoletto’s relationships with the Duke, Monterone, the courtiers, Sparafucile, and even Gilda, the picture takes on an entirely different hue. It is the conglomerate impression left by these associations that will ultimately define the real Rigoletto, very much as the aggregation of pixels on a monitor. The greater the number of pixels, the clearer the picture. Believable character development, therefore, is dependent on the evaluation of the sum of the traits provided by the composer for each protagonist in his opera.