Written by by CHIAO Yuan-pu, reputed music critic and writer with a PhD in musicology from King's College London
For opera fans and opera houses, 2024 is to be especially busy as it is the centennial anniversary of PUCCINI's death. His operas, true to the Italian tradition yet globally oriented, exhibit aspects of both heritage and innovation, allowing him to gain popularity in both Italy and around the world. His work is even part of pop culture, with appearances in the blockbusters Quantum of Solace and Mission: Impossible – Rogue Nation. Also, when COVID-19 was starting, the Italian air force put on a brilliant show set to the music of his aria "Nessun Dorma" to encourage the nation in such time of trouble. Clearly, PUCCINI's work has boundless charm.
Having started out as an ordinary person, how did he attain his crown of glory? The answer: his third opera, Manon Lescaut, which premiered in 1893. The novel on which it is based describes the extravagant living of an aristocratic adolescent in France during the reign of Louis XV. With its detailed evocative portrayal, it became a huge success. The story recounts how aristocratic teen Chevalier Renato des Grieux falls hopelessly in love with Manon Lescaut. The two love each other passionately for a time, until Des Grieux runs out of money. When Manon's brother proposes she become mistress to the elderly pervert Geronte, she not only accepts but also tells Des Grieux how he has messed up: "Do you think one can be truly loving when one is short of bread?" The novel ends with the two being exiled and Manon dying in Des Grieux's arms. Though the vain girl pays the ultimate price for her sins, the reader gets an ethereal sense of enjoyment from the piece.
That's right, enjoyment. Who hasn't thought about shamelessly pursuing the enjoyment of materialistic pleasure without regard for anything else, squandering their youth? The naïve degenerate Manon has been the perfect icon of the materialistic city girl since the novel was released. Before PUCCINI's piece, AUBER and MASSENET wrote operas about her. The latter's Manon is still frequently performed. PUCCINI, who understood the female heart well, took his own path instead of following his predecessors, especially in the aspect of the script, which took three years and the input of at least three writers to complete. They purposefully stayed away from MASSENET's script, adjusting the plot as necessary, making each act into its own little world. PUCCINI made Manon more mature and evocative, keeping the audience excited throughout the opera and producing the fiery passion unique to Italian realist opera of his time. PUCCINI said of the piece before writing it, "I shall feel it as an Italian, with a desperate passion."
This provides a glimpse into his supreme genius. Portraying the life of an 18th-century aristocratic teen by no means aligned with the prevailing trend of realism to portray the lower class, but PUCCINI was able to blend the grammar of that trend with neo-classical French music to create an oddly wonderful harmony. He was highly familiar with Italian tradition and embraced WAGNER's techniques and MASSENET's intricate, exceptional brushwork, which allowed him to create vivid, beautiful music and vibrant, varied hues for both the vocals and orchestral music of the piece. Rich and expressive, this opera, though highly symphonic, boasts an impressive vocal aesthetic throughout. Its great success was by no means a stroke of luck.
PUCCINI clearly loved this piece, as evidenced by his numerous revisions and great attention to detail, which have made it an unforgettable classic. While it may not be performed as frequently as his later La Bohème, Tosca, and Madame Butterfly, it is a favorite of sopranos and tenors, and the "Intermezzo" is similarly adored by great conductors. This year, Weiwuying will pay homage to PUCCINI by putting on this pick of connoisseurs with the roles being filled by some of the best Taiwanese and overseas vocalists. You really don't want to miss this full display of PUCCINI's brilliance.
