Maria Callas
While working on the PARALLEL
PERSPECTIVES Archives page, I started thinking about Maria Callas & her
rather bizarre, non-singing role in the equally bizarre 1970's Pier Passolini
film MEDEA--and noticed this CD of Puccini's MADAMA BUTTERFLY. I must admit
that I was kind of turned-off to see that the CD was Remastered from the
original non-stereophonic LP (there's just so much even digital technology can
do in salvaging pre-stereo operatic recordings) and I really only purchased it
because I was curious hear Callas in one of her less notable roles
(unbelievably there were only 3 performances).
I was pleasantly surprised to find myself really enjoying the entire
production.
Of course director Herbert Von Karajan is a famous talent in his own right and
tenor Nicolai Gedda is outstanding as the faithless American lover, Pinkerton.
I wonder if Puccini called him that deliberately because "Pinkerton"
was a notorious American "private detective agency" that supplied an
armed goon squad used against immigrants & striking workers?
Probably not.
The fact that I love Puccini and that MADAMA BUTTERFLY is my favorite opera
helped as well.
And there is Maria Callas.
Even the most ferocious detractors of Callas (and there are still many) admit
that she possessed a knack for characterization that was tantamount to genius.
I too will admit that strictly analyzed from a musical perspective, Callas'
performances (including BUTTERFLY) may not be the best in terms of singing
technique--but she did have "It"--that certain something that makes
her performance unique & unforgettable.
The plot of the opera is simple: Callous American Pinkerton in Japan has fun
with local girl, goes through a marriage charade, gets her pregnant, then takes
off back home again. But this isn't enough. He returns to Japan with his new
American wife & wants to take Butterfly's son back with them to America.
Butterfly realizes she's been betrayed & dishonored, but also has to admit
that giving up her son could result in great advantages to the boy. She makes
the unselfish decision to give custody to Pinkerton & his wife, but she
also decides to kill herself.
Puccini has been criticized for his use of "The Star Spangled Banner"
as a musical thematic element in the opera. The criticism is purely artistic
and not political. However, I thought it was entirely appropriate and that by
using it, the composer was making a valid, early multi-cultural statement. I
think it also gave the work a universality that is as relevant today as it was
near the turn of the last century, the so-called "American Century."
In the final scene Butterfly finally reaches the conclusion that there is no
place, no home left for her (after all, by "marrying" Pinkerton she
had also renounced her religious faith, and because of that has lost her family
as well.) For me, this tragic scene represented the essence of Butterfly--a
beautiful, fragile creature, her delicate wings torn off by an uncaring man
& blinded by the sudden intrusion of an unforgiving & absolute insight.
Like a natural butterfly trapped in a room, the human Butterfly is driven to
blinding distraction, unable to escape. This is true in Callas' performance,
but it is greatly overshadowed by an underlying emotion of a fierce, almost
defiant, rejection of what appears to be her fate--and by implication, the
false love that set the self-destructive wheel in motion. This element exists
in the interpretation of other singer's as well, but not to the degree of
strength as projected by Callas. In a strange way it reminded me of Medea: A rage
that devours love, love lost to outrage. Callas' interpretation is particularly
note worthy because this striking example of the actor's art is heard, but
never seen.
In fairness to Pinkerton, Butterfly's death forces him to reach a higher level
of self-awareness.
The CD memorializes one of the great performing artists of "The American
Century"--incidentally, Maria Callas was born in New York.
Again, I found the entire production wonderful in its' own right, even if it
does lack the latest technological recording innovation.
The
Very Best of Maria Callas
Maria
Callas, the Voice of the Century
Puccini
- Madama Butterfly / Freni, Pavarotti, Ludwig, Wiener Phil., Karajan
Puccini:
Madama Butterfly
Review: JEFarrow
Updated 06/08