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When the Golden West lost its Fanciulla Bologna
Comunale Nouveau
01/24/2025 - & January 25, 26, 28, 29, 30*, 2025
Giacomo Puccini : La fanciulla del West
Carmen Giannattasio/Ann Petersen* (Minnie), Claudio Sgura/Gustavo Castillo* (Jack Rance), Angelo Villari/Amadi Lagha* (Dick Johnson), Paolo Antognetti (Nick), Nicolò Donini (Ashby), Francesco Salvadori (Sonora), Cristiano Olivieri (Trin), Dario Giorgelè (Sid), Paolo Ingrasciotta (Bello), Orlando Polidoro (Harry), Cristobal Campos Marin (Joe), Zhibin Zhang (Billy Jackrabbit), Yuri Guerra (Larkens), Eleonora Filipponi (Wowkle), Francesco Leone (Jake Wallace), Kwangsik Park (José Castro), Enrico Picinni Leopardi/Pasquale Conticelli (Un postiglione)
Coro del Teatro Comunale di Bologna, Alberto Malazzi (chorus master), Orchestra del Teatro Comunale di Bologna, Riccardo Frizza (conductor)
Paul Curran (stage director), Gary McCann (sets & costumes), Daniele Naldi (lighting)
G. Castillo, A. Petersen, A. Lagha (© Andrea Ranzi)
Puccini’s La fanciulla del West (1910) is likely the composer’s least-performed opera, not counting his first two operas Le Villi (1884) and Edgar (1889). It’s also the composer’s richest orchestral score, even more impressive than Turandot (1926). The reason for its infrequent appearance relates to its vocal requirements, particularly its soprano role, Minnie. Notable post‑WWII interpreters of the role have been Birgit Nilsson, Renata Tebaldi, Carol Neblett, Ghena Dimitrova, Mara Zampieri and Eva Marton. All are either spinto or dramatic sopranos with substantial voices, not exactly run‑of‑the‑mill sopranos. Any production of this work also demands a huge number of secondary roles, which can obviously become costly.
The last time Bologna’s Teatro Comunale produced La fanciulla del West was over three decades ago, in 1989. This season, the venerable theatre is under renovation, therefore performances were moved to the Comunale Nouveau, a modern amphitheatre removed from the city’s charming historic centre.
The opera takes place in a mining region of California during the Gold Rush. In Act I, miners congregate in Minnie’s “Polka Saloon.” A Wells Fargo agent is on the lookout for Ramerrez and his gang of Mexicans. Sheriff Jack Rance declares his love for Minnie, who puts him off. A stranger calling himself Dick Johnson enters the saloon. There’s a strong attraction between him and Minnie.
In Act II, Dick Johnson visits Minnie in her cabin. He hides when Sheriff Rance enters to warn Minnie that the stranger Johnson is none other than the bandit Ramerrez. Minnie does not denounce Johnson but sends him away, distraught that her seduction may have just been a ploy to rob her and the miner’s gold stored at her saloon. He is shot as he leaves, but returns to Minnie, who hides him. When Rance spots a drop of blood, he orders Johnson to climb down. Knowing Rance’s penchant for gambling, Minnie dares him to play a game of poker. If she loses, she will marry him. If she wins, he will let Johnson go free. Hiding extra cards in her stockings, Minnie cheats and wins.
In Act III, Johnson is captured and is to be hanged. He accepts his sentence provided Minnie does not find out that he was caught and hanged. As the miners prepare to hang him, Minnie rushes in, gun in hand, and beseeches the miners as they owe her too much for caring for them. One by one, they yield. Even Rance begrudgingly relents. Minnie and Johnson leave California to start a new life elsewhere.
Paul Curran’s staging was straightforward, almost old style pre‑1980s, with no twists or unusual new ideas, which may have been fine for those just now discovering the work. Gary McCann’s realistic sets and costumes were cinematic. The stage looked like a studio set in a Western cowboy film, especially in Minnie’s saloon “The Polka.” Minnie’s home was spartan, as one would expect a dwelling would be in the pioneer days of the Wild West. The politically-incorrect portrayal of the Native American couple, Wowkle and Billy Jackrabbit, was toned down, and Minnie’s native servant Wowkle was given a sympathetic portrayal.
The Orchestra del Teatro Comunale di Bologna was glorious under the expert baton of Riccardo Frizza. Frizza brought out the rich palette of colours in Puccini’s intricately dense score. Orchestrally, this was the finest Puccini one could hope for. Initially, the dynamics of the orchestra were too loud as the soloists began their arias, but after Minnie’s entrance, they played less forcefully but with great beauty. More about the reason later.
The less significant roles of the miners frequenting the saloon were sung by healthy voices that did not sound like modestly endowed character singers. I guess they had to, given the score’s heavy orchestration. Moreover, they were good actors as well. One could sympathize with the downtrodden, the homesick and the one whose health had taken a downturn.
The three leading roles are demanding vocally and dramatically. Venezuelan baritone Gustavo Castillo had the hefty big sound required for the role. As the role is not sympathetic, the fact that his timbre is more dry than velvety was an advantage. As far as acting, Castillo managed to portray the ruthless, bossy sheriff as the bully he is, but he also displayed his vulnerability when rejected by Minnie.
The revelation of the evening was the Tunisian tenor Amadi Lagha, who boasts a strong voice with ease in the upper register and glorious squillo. His Italian diction is exemplary. In short, he was an ideal Dick Johnson. The opera’s most popular aria, “Ch’ella mi creda” was beautifully rendered and elicited hugely-deserved applause.
Disaster struck prior to the performance, as we were told Danish soprano Ann Petersen was suffering from pharyngitis, but would go on with the performance. Respiratory and throat afflictions are not unusual, especially in the winter season. I expected a slightly diminished voice, but the poor woman could only whisper. I was in the front row and barely heard her. I wonder if those furthest away could hear anything. Mercifully, the Bolognese public was humane and well‑behaved; they did not boo her.
After intermission, the sovrintendente (General Director) of the Comunale addressed the public explaining the situation. The soprano in the alternate cast, the terrific Carmen Giannattasio, who’d performed the preceding day, could not repeat this taxing role for two consecutive days. As this was an early show at 6 pm, it was challenging to find a soprano capable of singing Minnie and who would be intimate with the rarely-performed role. The public was offered to depart if they so wished, with full reimbursement, and were given a few minutes to decide, before the start of the final act. Most stayed.
It was not possible to correctly judge Petersen’s voice under the circumstances. In the very final scene, her voice became slightly stronger, but not acceptably so. She did her best under the circumstances, and that was appreciated. A whispering Minnie is better than no Minnie at all.
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