The problem, of course, is that such overt politically heavy-handed posturing makes it more difficult to create good drama. It is, in effect, a reflection of America’s current obsession with identity politics, of its need to expose its own historical, (and current), maltreatment of minority groups, and its need to purge its collective soul and seek forgiveness. The girls of the title have little in common with Puccini’s Minnie, but reflect the comparatively small number of women, made up of wives, prostitutes, entertainers, barmaids and others searching for a new life who decided to embark on a journey into this wild, all male environment. Having already rejected an offer to direct Puccini’s opera on the subject, presumably considering it superficial and politically at odds with his outlook, Sellars created a libretto populated by a more diverse range of characters drawn from a variety of ethnic backgrounds, including Mexican, Chilean, Chinese and Black Americans, inserting them into what was a predominantly white male mining community. Original choreography by Lucy Burge is remounted by Anjali Mehra (debut).It was Adams’ long-term collaborator, Peter Sellars, who came up with the idea of making an opera about the gold rush, and who also took responsibility for creating the libretto. Lighting designer Mimi Jordan Sherin ( The Abduction from the Seraglio and Blond Eckbert, 1994), fight director Rick Sordelet, and chorus master Susanne Sheston complete the creative team. Music Director at The Dallas Opera, Emmanuel Villaume ( The Grand Duchess of Gerolstein, 2013), conducts the Santa Fe Opera Orchestra. Making their company debuts, tenor Allan Glassman is Nick, bartender at the “Polka” saloon, and baritone Craig Verm is the miner Sonora. Completing their love triangle, bass-baritone Mark Delavan ( Arabella, 2012) is the mining camp’s shady sheriff Jack Rance, and bass Raymond Aceto ( King Roger and Tosca, 2012) is the Wells Fargo agent Ashby. Returning to Santa Fe Opera, soprano Patricia Racette ( The Letter, 2009) makes her role debut as the high-spirited Minnie, and tenor Gwyn Hughes Jones (L a Bohème, 2007) is the bandit Dick Johnson.
Jones was recently awarded the 2015 Olivier Award for “Outstanding Achievement in Opera” for this critically acclaimed production, and is joined by original scenic and costume designers Miriam Buether and Nicky Gillibrand.
Opera girls of the golden west full#
Full of color and action-firing pistols, poker, and whiskey-Puccini’s romantic portrait of the gold-mining frontier is inhabited by pitiless bandits, compassionate but rugged prospectors, and one extraordinary saloon owner named Minnie.īritish theatre and opera stage director Richard Jones makes his company debut with this co-production, praised as “stylistically simple and morally sincere” by The Telegraph at its English National Opera premiere in 2014. Santa Fe, NM – A “spaghetti Western” tale of love, money, deceit, and forgiveness, The Girl of the Golden West is an authentic take on America’s iconic Golden West, set to music by the composer of Madame Butterfly and Turandot.
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