Puccini usually composed at the piano, reading from the libretto and writing musical sketches in its margins. One libretto version of the first tableau, housed at the Museo Illica in Castell’Arquato, shows one of these, with the annotation “theme of either Colline or Schaunard” [Motivo o di Colline o Schaunard], which was not ultimately used. In the last act, Puccini wanted the action to focus on the amorous scenes and the “Tod von Mimì” as he put it. Therefore, he wanted to abridge the initial elements of the last act. One of the parts that he excised, after much discussion and work, was the “toast to water,” whose text has long been a mystery. This toast caused many problems amongst the collaborators. As Puccini wrote to Ricordi in October 1895, “That toast will be my death!” ([Quel brindisi sarà la mia morte.] Gara, Carteggi, 122.) Among the papers at the Casa Giacosa, is a printed proof of the toast. [Ex. 7.7] The text of this toast is remarkable, not only for the sentiments themselves, but for the individual ways in which the characters express them (Rodolfo is more poetic and Colline more philosophical, etc.)— and each of the bohèmes speak in a different meter. The mixing of meters became an issue for Puccini, as he wrote in yet another letter to Ricordi of the same period: Reading carefully, one understands what the poet wanted, and that is a quartet sung simultaneously, with the fault though of “different meters” in the “different toasts.” Marcello, as you see, intervenes to cut off the discussion of precedence. Rodolfo confirms the idea and Schaunard gives the signal, tapping out three so they can begin together-don’t you think? Therefore, the idea of having one sing after the other is out, because is would be nonsensical. And therefore how do I handle the different meters and concepts? [Leggendo attentamente, si comprende cosa abbia voluto il poeta, e cioè un quartetto cantato simultaneamente, col torto però dei ‘metri differenti’ ai ‘differenti brindisi.’ Marcello, come vede, interviene per troncare le questioni di precedenza. Rodolfo ribadisce l’idea, e Schaunard dà il segnale battendo i tre colpi per poter così attacare uniti—non le pare? Dunque decade l’idea di far cantare uno dopo l’altro, poichè sarebbe un nonsenso. E allora come fare per i differenti metri e concetti?] Puccini also complained to Illica: “For the toast, I repeat to you that it is almost impossible to set it (I say almost, because if one wants one can set the tailor’s bill.)” [Per il ‘brindisi’ ripetoti che così è quasi impossibile musicarlo (dico quasi, perché volendo si può musicare anche il conto del sarto).] [Quotation taken from: RECONDITE HARMONY - Essays on Puccini’s Operas by Deborah Burton - The Opera Series No. 3 - Patrick Smith, General Editor - Pendragon Press - Hillsdale, NY, 2012]
Posted on: Sat, 23 Aug 2014 13:12:35 +0000
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