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