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.