Ecstatic Living Room

Here in New York we’re celebrating the centenary of one of opera’s more unique works, Puccini’s “Fanciulla del West” or in English, The Girl of the Golden West. Premiered on December 10, 1910 as the first world premiere at the Metropolitan Opera, Puccini’s “American Opera” was arguably one of the most important and high-profile works of Americana on the classical stage at the time. In 1910, the concept of “American” music as we know it today wasn’t as settled as it is now, especially on the classical stage, but now 100 years later we all can now instantly recognize many quintissentially American works, such as Aaron Copland’s 1942 ballet Rodeo, and most famously the Hoedown:

And from Copland’s other famously American ballet, Billy the Kid:

But as much as everyone was excited for an “American Opera,” there were detractors. In 1910, Puccini himself said that The Girl of the Golden West wasn’t an “American” opera, as it had been billed by the Met. He responded to the claim by saying, “The music cannot be called American, for music has no nationality — it is either music or nothing.” But how can music not have a nationality when we now so easily and instantly hear what is “American,” and more specifically what is “Western?” This music is so clear to us that it has permeated into many parts of not just classical, but also popular music. Take the soundtracks to the great Western films of the 1950′s and 60′s, like The Magnificent Seven:

These works sum up the optimism and bravura that was so prevalent, and indeed necessary, among the ’49ers who left their lives and went out west looking for gold and glory. Sadly the gold rush didn’t work out as expected for many, and this made for the other part of Western music that we recognize – the sad and plaintive song.

Interestingly enough, The Girl of the Golden West wasn’t the first major work focusing with America as it’s theme. One of my favorite examples of American music comes from a Czech composer, Antonín Dvořák, and his Ninth Symphony, titled “From the New World.” This symphony was written in 1893 while Dvořák was living and working in New York as the head of the National Conservatory of Music. His fascination for all things American lead him to write one of the most beautifully American pieces of music ever, the second movement of his “New World” symphony.

But on this 100th anniversary of such a special work, it would be awful to not include one of the iconoclastic performances of the role of Dick Johnson, the principal tenor role in the opera. In this performance by Placido Domingo, you can hear not only the beginnings of some of the sounds which we so distinctly recognize as American, but also Puccini’s ever-present Italian style and voice. It’s a treasure of a piece, and all the attention on the work this year should hopefully carry over into the next 100 years. If you’re in New York, the show runs through January, but it will also be broadcast Live in HD on Saturday, January 8. Until then, we can enjoy this wonderful clip: