The operas of Giacomo Puccini have been the bread and butter of opera companies around the world for over a century; it is therefore no surprise that the centenary of his death, at the age of 65 on November 29, 1924, should be marked by a host of memorial performances.
Amongst them, Opera Australia’s Puccini Gala Concert, a celebration of Puccini’s glorious contribution to melodrama, almost acts as reprise of so many OA performances over the years, including performances of Tosca at the Margaret Court Arena (MCA) in May. A collaboration with Opera North, that production was a mixed bag in terms of success. This Hamer Hall Gala had several advantages: an acoustic that needs no reliance on amplification; an orchestra that you could see and hear in all its sumptuous Puccini glory; and singers able to connect more readily with the audience by performing at the front of the stage. Those who had heard Young Woo Kim’s Cavaradossi at the MCA knew they were in for a special treat.
Many would have been disappointed that Joseph Calleja’s illness necessitated a short notice replacement for the Gala, so it was interesting to observe audience reaction when someone far less well known replaced an international star. In this case, it was a double triumph for Young Woo Kim. It is fair to say that vibrant presence and ringing tenor voice attracted some of the most enthusiastic applause for the evening as he bookended the vocal component of each half of the program. His voice has a most appealing timbre and he was rock solid on the high notes. Particularly impressive was his passionate account of “Donna non vidi mai” from Manon Lescaut immediately after interval.
As the other international star, for whom this concert was also a reprise of her success as Puccini heroines, soprano Nicole Car also excelled in her performance of items from the same opera. Changing into an appropriately alluring red gown as Manon Lescaut, she sang a spirited duet, “Poichè tu vuoi saper”, with Peter Coleman-Wright as her exploitative brother. Coleman- Wright might have been a little under-powered vocally at times, but his acting has lost none of its force; his use of vocal colour in the contrasting roles of Scarpia and Marcello was admirable. Car’s “Sola, perduta, abbandonata” was heart wrenching – expressive, poignant and sung with great beauty of tone and intense musicality. The luminous sooth-as-satin quality of her voice in an important diminuendo was simply ravishing. Orchestra Victoria also excelled in this selection of pieces from Manon Lescaut with some excellent work from cello and viola principals and Concertmaster Yi Wang during the Act III Intermezzo.
Although a concert of excerpts is in danger of being overly fragmented, the structure of this program and Coleman-Wright’s narrative as Host between sections made the experience satisfyingly cohesive and emotionally rewarding. His selection of information could not have been better: interesting, entertaining and just the right length. The “odd” critic might have taken slight offence at the emphasis on how woeful some judgments have been about the long-term value of several of Puccini’s operas, notable critic Carlo Bersezio’s comment on La Bohème: “even as it leaves little impression on the audience’s minds, will leave no great trace upon the history of our lyric theatre”, being one of the most laughably wrong.
Among excerpts from Fanciulla del West, Gianni Schicchi, Suor Angelica, La Rondine and Turandot, were substantial sections from Madama Butterfly, La Bohème, Manon Lescaut and Tosca – sufficiently extended to allow us to become immersed in the world of those operas. Interval came with the music from La Bohème lingering in our memories. Beginning with a soaring performance of the Act I duet for Mimi and Rudolfo, followed by Musetta’s “Waltz Song” – sung with a great deal of flirtatious animation, including some willing participation on the part of conductor Daniel Smith, by soprano Julie Lea Goodwin – came a lengthy excerpt from Act III involving all four singers. We were transported convincingly to the pathos of bohemian life – its joys, strife, fears and passion. Ah Puccini!
With effective direction by Miranda Summers and atmospheric lighting by Paul Jackson, The Puccini Gala Concert was a celebration of Puccini’s genius as a storyteller. Orchestra Victoria and the outstanding artistry and vocal prowess of the singers made it an outstanding tribute to his genius as a composer of the most memorable and melodious music ever written.
Photo supplied.
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Heather Leviston reviewed The Puccini Gala Concert, presented by Opera Australia at the Arts Centre Melbourne, Hamer Hall on July 25, 2024.
