<< -- 2 -- Wilfrid Mellers SECOND SIGHT
The ongoing texture of Puccini's orchestral writing mirrors the volatile
vacancy of life's fleeting moments, if one discounts any sense of purpose,
let alone ambition; the vocal parts are conversationally interlaced within
the triviality of the words we, for most of the time, utter. This sounds
like everyday routine because that is what it is and is meant to be; only
routine proves to be merely a backcloth to the gut-wrenching and soul-stirring
tunes in which normally inarticulate people surprisingly and surprisedly
discover, in the context of volatile vacancy, that the commonness of the
Big Tunes complements their uncommonly potent verisimilitude. If La Bohème
is not the greatest, it is the most profoundly representative, of Puccini's
operas: the reason being that his young Bohemians -- so called because they
are gypsyish outsiders from a mythical Bohemia relocated in the purlieus
of big cities -- central Paris around the Seine, New York's Greenwich Village,
or London's Soho -- where, in Having a Good Time, they become victims of
social oppressions and penury, to a degree consequent on their own inconsequentiality
and irresponsibility. The villain is neither (as in Madame Butterfly)
a moribund Old Japan or a brashly new America, but simply a God who allows
young people -- would-be artists bemusedly creating they know not what, but
at least, in hopefully creating, emulating God himself! -- to starve in garrets
and to sink, rather than swim, in euphoric amnesia. This point was deftly
made when Phyllida Lloyd updated the action of Puccini's and his librettists'
adaptation of Henry Murger's novel from the 1830s to the late 1940s, in
the wake of the Second World War.
By this time Bohemians were no longer a minority of young outsiders but
a majority of young urban drop-outs, especially (rather than exceptionally)
those from the less privileged classes. What destroys Madame Butterfly is
the impact of an Old World (religious, magical, ancestor-ridden, butterfly
impaling) on a New World (mercantile, mercenary, militaristic, butterfly-bashing).
So the reasons for Butterfly's destruction are both palpable and indictable:
whereas for Mimi la bohème social pressures, although they
exist, are not the only, nor even the main, trigger to catastrophe. 'Poor
Butterfly' is demolished by identifiable evils; poor Mimi is broken neither
by wicked oppressors nor by her own timidity or bohemian frivolity, but
simply and irremediably by her consuming consumption. There but for the
grace of God might go we, lopped off by Aida or whatever our current scourge
might be. Puccini offers no evidence for the efficacy of God's grace, I
suspect because he thought there was scant chance of his displaying it.
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Copyright © 6 October 2001
Wilfrid Mellers, York, UK
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