(Gheorghiu como Cio-Cio San)
Os fieis leitores e colaboradores deste blog conhecem sobejamente a minha relutância pucciniana, as reservas (também artísticas) diante de Angela Gheorghiu e a minha manifesta antipatia por Madama Butterfly.
Posto isto, face à recente leitura de Madama Buttefly (EMI, direcção de Antonio Pappano), protagonizada pela draculette Gheorghiu, neste mesmo espaço, seriam de prever tiros de canhão!
A bem da (pretensa) isenção e neutralidade, declaro que os escassos excertos que escutei do artigo em questão se revestem de grande interesse artístico e musical.
Claro está, dificilmente me verão adquiri-lo! Não vamos tão longe...
«Gheorghiu might not seem an obvious candidate to be the innocent heroine of Puccini's ever-popular tear-jerker Madama Butterfly. But her voice type has never been quite as overtly dramatic as her personality; she shot to fame singing comparable roles, such as Mimi in La Bohème and Violetta in La Traviata; and in her new recording of Butterfly she captures the turmoil of the heroine's journey from passionate girl to betrayed woman.
How did she tackle the challenge? The key, she says, is love. "Imagine: I am singing Italian music, being a Latin singer from Romania, in the character of a Japanese girl of more than 100 years ago, being a geisha – I am not sure if she is a geisha with sexual experience or not; wanting to be married in a second to someone she has never met before; being really in love. This man is a sailor, and we know that a sailor can have a lot of girls everywhere; but something magic happens. She believes. Because when you are in love you believe everything. And this love duet is one of the most beautiful in all opera."
She hasn't yet the "courage" to sing Butterfly on stage, she remarks. "In an opera that is so dramatic and tragic, things can happen to you if you are very emotional. One month ago, imagine me singing La Bohème. I have sung it hundreds of times; I was singing in San Francisco; and in the last act I could not sing because I was crying all the time, crying. You know why? Because of Puccini! And even if some critics judge him in all the negative ways possible, they are very wrong: he wrote music for the people, and he wanted you, and himself, to cry. If you are crying, he is a winner. We are all winners."»
Para terminar, responda-me o fiel leitor: desde o ocaso da Freni, haverá maior intérprete feminina do Puccini lírico (Mimi e Magda) e lírico – dramático (Tosca e Cio-cio Son) do que Angela Gheorghiu?