(Photo credit: Amanda Tipton)
Central City Opera (CCO) makes a strong return in the 2023-24 season, entering the Colorado Music Hall of Fame and appointing Alison Moritz as Artistic Director. The company, rejuvenated under the leadership of CEO Scott Finlay after a challenging 2023 marked by labour disputes, boasts a strengthened endowment. Their ambitious 2024 summer festival includes Gilbert and Sullivan’s “The Pirates of Penzance” and Kurt Weill’s “Street Scene,” which features a large cast. Similarly, Puccini’s “La Fanciulla del West” demands eighteen singers, all male except for the title role and her housekeeper, Wowkle.
As the fifth oldest extant American opera company, Central City Opera attracts internationally renowned performers and consistently fills its intimate opera house, a historic gem built in 1878.
Aside from Douglas Moore’s “The Ballad of Baby Doe,” which premiered in Colorado in 1956, “Fanciulla” is particularly fitting for CCO’s repertoire. Central City, though small, reflects Puccini’s mining camp setting. The short walk from the municipal parking lot to the auditorium and the familiar Act One set, the Polka saloon, contrasts sharply with the grander experience of Giancarlo Del Monaco’s production at the Metropolitan Opera. Central City’s bars, equipped with digital gambling machines, underscore the mining community atmosphere depicted in “Fanciulla,” where the only American woman in the cast works as a bartender amid patrons gambling their mining earnings. For Puccini’s Italian Western, few venues could be more appropriate than Central City.
Alla Polka si beve l’whisky schietto
“Fanciulla” is driven by a dramatic intensity that surpasses even “Madama Butterfly” and competes with “Tosca.” Unlike the somewhat languid first act of “Manon Lescaut” or the early antics in “La Bohème,” Puccini’s mastery in creating vivid life moments is fully realised in “Fanciulla,” pushing the narrative forward with precision. Few operas make as many dramatic impacts so quickly; Verdi’s “Rigoletto” might be the closest in that regard. Each micro-scene, seamlessly through-composed, sets up later developments in the opera. For instance, Sid’s expulsion from the gambling table for cheating, as Rance effectively saves him, foreshadows and complicates Minnie’s strategic triumph over Rance in Act Two and provides an early example of the heroine’s conflict resolution in the conclusion.
Rance, the baritone antagonist, is portrayed with a nuance that Baron Scarpia in “Tosca” lacks, avoiding being a wholly villainous figure unlike the Roman chief of police. Puccini also distinguishes the miners as individuals, despite the brief time given to each, often with sharp dialogue. While the libretto’s portrayal of the Native couple, Billy Jackrabbit and Wowkle, has been critiqued, modern productions have found ways to address this issue. Remarkably, “Fanciulla,” a 1910 opera about American characters from 1849, presents the protagonists as a positively depicted interracial couple.
Best of all, unlike every other canonical, non-comic Puccini opera, “Fanciulla” does not sacrifice the heroine for artistic effect. It also represents a move to even richer, denser orchestration than Puccini’s earlier works and explores adventurous tonality without the heavy reliance on pentatonic scales found in “Turandot”—an opera that, despite its merits, represents a dramatic dead end into which Puccini had painted himself before his final illness. Although Wagner is often associated with complex use of leitmotif, Puccini achieves comparable or even greater effects with a more economical use of motifs, as seen with the redemption theme in “Fanciulla,” which evolves from Minnie’s Bible lesson. “Fanciulla” functions both as an opera and as film music, with its live stage action providing the cinematic experience.
For these reasons, much like Wagner’s “Parsifal” and Verdi’s “Don Carlo,” “Fanciulla” tends to inspire a particularly sincere commitment from the companies that stage it. Though it might be considered fortunate, I have not encountered a poor performance of this opera. In 2020, even the small Winter Opera Saint Louis, operating on a limited budget with just 26 instrumentalists, delivered a commendable “Fanciulla” under the direction of Karen Kanakis. Despite some aspects of Central City’s performance on 31 July 2024 being less than perfect, they overall rose to the challenge, delivering a compelling interpretation of Puccini’s demanding score.
Che terra maledetta, quest’occidente d’oro
Fenlon Lamb’s production of “Fanciulla” was presented with a straightforward, faithful approach. This opera’s inherent staging concept is robust enough to stand on its own, and a highly representational realisation serves it well. While a fresh take on “Carmen” or “Il Barbiere di Siviglia” might be welcome, “Fanciulla” manages perfectly well with a traditional interpretation.
Supertitles have become a standard feature of modern productions, and Brett Finlay’s approach remained consistently figurative, diverging from traditional Italian presentations. Despite the constraints of CCO’s compact backstage area, Jefferson Ridenour’s sets provided ample detail. In Act One, the Polka Saloon was suggested through a stage left doorway opposite the bar, with a stairwell for Minnie’s dramatic entrance, interrupting the miners’ altercation with a warning shot. The bar was adorned with a sign reading “a real home for boys.” In Act Two, Minnie’s cabin included the expected table, fireplace, bed, and loft, but also featured a bear skin rug with the bear’s head—a detail often overlooked.
In contrast to the Metropolitan Opera’s elaborate Act Three set, which resembles a section of Guadix transported onto the stage, CCO’s production adhered to the forest clearing described in the libretto. The set included about sixteen tree trunks centre stage and a tall wooden fence with a wooden hook, positioned slightly past the fourth wall, instead of the grand gallows.
Lighting design by Abigail Hoke-Brady, which likely included uncredited projections, was a standout aspect of the production. Act One’s love duet was set under a starry night sky within the saloon, creating a romantic atmosphere. Unlike many companies that delay the winter storm until it is mentioned in the text, this production featured snowy projections throughout Act Two. The use of spotlights for the romantic duet in Act One and Minnie and Rance’s poker game in Act Two was both subtle and effective, enhancing these moments. Sepia-toned photographs of the old West, including some Native Americans, were displayed following the opening curtain during the brief prelude. Notably, projections on Minnie’s cabin walls displayed her and Rance’s poker hands, reminiscent of televised Texas Hold’em, in a more understated manner than it may sound.
Costumes by Susan Allred, sourced from Utah Opera, dressed Jonathan Burton’s Johnson in a double-breasted tan suit initially and a bloodstained white shirt for Act Three, echoing Tosca’s tortured Cavaradossi. Grant Youngblood’s Sheriff Rance wore the conventional black three-piece suit, while Kara Shay Thomson’s Minnie donned a simple burgundy blouse and dark green skirt until her Act Two slumber party, where she changed into a crimson house robe. The miners were outfitted to resemble characters from a Western film.
Although the staging was conventional, it introduced some intriguing elements. An armed Sonora disarmed Sheriff Rance during the climactic concertato, putting him on the sidelines. Rance ended up facing more guns than he wielded, with Minnie drawing her pistol on him during their first act duet. Additionally, Sonora refused to place the noose around Johnson’s neck, leaving him to do it himself, a detail later reversed by Ashby during the forgiveness concerto.
Benvenuto fra noi, Johnson di Sacramento
The standout performance among the principals was tenor Jonathan Burton as the reforming bandit, Dick Johnson/Ramerrez. It’s rare to encounter a tenor in a role demanding lirico-spinto or dramatic qualities delivering such a strong performance. Burton’s recent roles have leaned towards the spinto side, featuring prominently in Puccini’s more frequently performed operas, and he brought a baritonal richness to his portrayal.
He made a memorable entrance with a confident swagger, undeterred by Rance’s refusal to shake hands. After a brief vocal warm-up, Burton allowed Minnie to approach him in their first love duet, an intriguing choice considering Minnie’s often projected desire to escape the constraints imposed by her male counterparts. His appeal to Minnie was evident in “Quello che tacete,” particularly when he delivered the A♭ in “una gioia strana” with striking clarity against the backdrop of projected stars in the saloon.
Their embrace and subsequent proposal in her cabin, which Minnie described as “closer to God” than the saloon, showcased his vocal and emotional range. His request for “un bacio, un bacio almen” in Act Two was delivered with Wagnerian power, supported by secure high notes throughout the act. Beginning “Or son sei mesi” with his back to Minnie, Burton conveyed a deep sense of shame in “la mia vergogna,” fully committing to the role without forcing his voice.
In Act Three, his portrayal of “Ch’ella mi creda” stood out as one of the few aria-like passages in “Fanciulla.” Burton infused the aria with a prayerful tone as he spoke of Minnie, building dynamic contrast from the soft piano of “mio solo fiore” to a powerful climax at high B♭. Despite initial rough treatment from the other men, who had otherwise begun to accept him, Burton’s performance captured the character’s sincerity and strength. Burton rose to the challenge of a demanding tenor role, delivering a compelling and heartfelt performance.
Che c’è di nuovo, Jack?
A veteran of more than two decades with CCO and highly experienced in Puccini, baritone Grant Youngblood offered a distinctive portrayal of Jack Rance. “Fanciulla” bears some intriguing parallels to “Tosca,” and like those who have played Scarpia, Youngblood took on the menacing but less malevolent role of the Western Sheriff. He presented Rance as a gentleman for much of the opera, showing signs of weariness and a hint of petulance at Minnie’s romantic rejection. His portrayal lacked overt rage and only hinted at possessiveness until the climax of Act Two’s poker game, making his eventual shift more striking compared to a more aggressive approach seen in other interpretations.
Puccini often excelled in creating dramatic moments where characters must truly listen to one another, and Youngblood’s Rance engaged actively as Minnie discussed her philosophy of love in “Laggiù nel Soledad.” His aria “Minnie, dalla mia casa son partito” was delivered with a tone of sorrow and confession, diverging from the more casual masculine approach often seen in this role. Vocally stronger in the lower register than the upper, Youngblood’s performance conveyed a sense of genuine affection for Minnie rather than mere lust, particularly in Act One. This nuance underscored the dynamic not only between Rance and Minnie’s new love interest, Johnson, but also between Johnson and the entire mining camp, including Rance: in the eyes of the miners, Johnson’s true transgression isn’t gold theft but winning Minnie’s affections.
Tre assi e un paio!
Youngblood and soprano Kara Shay Thomson delivered a masterful portrayal of their climactic Act Two showdown. The scene stands out in Puccini’s repertoire for its dramatic intensity, surpassing even the Riddle Scene in “Turandot.” The poker game provides ample opportunities for tension and theatricality.
After Johnson’s fainting spell but before the cards were dealt, Youngblood brought a Sherrill Milnes-esque bravado to his role, grabbing Minnie before retreating when she brandished her pistol again, responding with his line about losing like a gentleman (“So perdere come un signore”). Accompanied by the propulsive pizzicato of Andrew Bisantz’s orchestra, he shed his overcoat as the spotlight illuminated Minnie’s dinner table. She refused to cut the deck, leading to a tense stare-down while he dealt. During the final hand, Rance’s distraction allowed Minnie to discreetly retrieve cheat cards from her garments.
Upon winning, Thomson delivered her triumphant line, “tre assi…e un paio,” with a dramatic pause before throwing the entire deck into the air, simulating the storm outside the cabin as the cards fell. Her emotional breakdown following her Wagnerian cry to end the act was deeply affecting. In terms of drama, Minnie’s full house could rival any poker showdown, eclipsing even the memorable 2003 World Series of Poker faces of Chris Moneymaker and Sam Farha.
Poni dentro al mio petto un puro cuore
Puccini’s heroine in “Fanciulla” is a monumental achievement in opera, both in terms of its dramatic demands and its difficulty to perform. When Johnson tells Minnie she has the face of an angel, it’s not just a compliment but a literal acknowledgment of her role as a bearer of the transformative power of redemptive love.
After making a highly anticipated late entrance in Act One, Minnie remains on stage for nearly the entire opera. According to Neil Kurtzman, “Minnie is more than halfway along the road from Tosca to Turandot,” reflecting the character’s significant vocal and dramatic demands. The role requires the soprano to continually project over a robust orchestra, even though the smaller size of CCO’s pit might not match the grandeur of spaces like Chicago’s Civic Opera House or San Francisco’s War Memorial. While not as extreme as Turandot or Isolde, the role of Minnie demands a soprano with powerful lungs, comfort across a wide tessitura, and considerable dramatic insight.
Kara Shay Thomson succeeded dramatically for the most part, but faced vocal challenges throughout the performance. She struggled with passaggio issues, which affected her consistently. Her strongest moments were during softer passages, where she used a light, cherry pie timbre, such as in the Bible lesson scene—although it was noted that Rance and Ashby entered the auditorium to smoke e-cigarettes during this segment. She often approached high notes from below, though there were notable exceptions, like the high C in “Laggiù nel Soledad,” which briefly disrupted this tendency. Her delivery of “sono una povera Fanciulla, oscura e buona a nulla” was particularly lovely in its pianissimo.
However, her difficulty with dynamic transitions reappeared in Act Two, particularly during Minnie’s expression of anger in “vieni fuori,” where her support faltered. Despite these issues, she generally handled the final ensemble well, including the high B♭ in “ora quest’uomo è mio come di Dio.” Dramatically, Thomson portrayed Minnie with a more maternal rather than sisterly approach to the miners, creating a distinct contrast in her interactions with Johnson, where she maintained a countryfied ingenue persona. Her final moments were marked by a weepy timbre as she relinquished her gun and won Johnson’s freedom, concluding with them exiting via the house aisles.
Le tuo parole sono di Dio
Baritone Matthew Cossack as Sonora delivered a standout performance, particularly when he spoke for the group, telling Minnie that God spoke through her. Among the supporting cast, bass Christopher Job’s portrayal of Ashby, the Wells Fargo agent, was particularly memorable. His performance was notable for its rich, black walnut timbre and dramatic depth. Given Minnie’s role, one might speculate that Ashby could have been a fitting match before the bandit appeared under false pretenses. Job’s impressive range of roles in 2023-24, including performances in “Forza,” “Ballo,” “Dead Man Walking,” and various Puccini works, suggests he’s a talent to watch for future engagements at the Met.
Tenor Nicholas Lin, an apprentice artist, made a commendable appearance as the bartender Nick. The miners, though too numerous to name individually, formed a cohesive and engaging ensemble, particularly shining in the climactic third act. They also added a memorable touch at the end of Act One, surrounding Minnie and humming antiphonally from the house.
Mezzo-soprano Natacha Cóndor, also an apprentice artist, brought a pleasing sound to the role of Wowkle, the only other female character besides Minnie. Baritone David Drettwan’s portrayal of Jake Wallace, the balladeer, showed promise, though the role, known for its staginess, might benefit from a more seasoned principal artist rather than a young artist at this stage. This role, like many of Puccini’s smaller parts, demands a particular level of experience to fully shine.
Maestro Bisantz led the orchestra with a brisk pace, likely the fastest rendition of “Fanciulla” heard, effectively emphasising the opera’s dramatic momentum. The brief prelude, which sets up the motivic material and is notably faster than the marked ♩ = 160, contrasted with the omission of such preludes in “La Bohème,” “Tosca,” and “Turandot.”
In the orchestra, Kathryn Harms shone on the harp, particularly notable in this opera’s rich harp passages, including the backbeat in Wallace’s “Che faranno i vecchi miei.” The ‘celli, under principal Jon Lewis, along with all the low strings, consistently impressed, notably supporting Minnie’s proclamation of “io stessa” during the love theme. Timpanist Michael Tetreault made a powerful impact with dramatic outbursts in Act Two, adding a filmic intensity to the performance.
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