Opera Holland Park opened its 30th season with Puccini’s less frequently performed La Fanciulla del West. Commissioned by the Metropolitan Opera in New York under Arturo Toscanini, the roles of Dick Rance and Minnie were created for Enrico Caruso and Emmy Destinn. Puccini himself received 20 curtain calls on opening night.
Puccini considered Fanciulla his finest work. Although it has never achieved the popularity of La Bohème or Tosca, it is a richly atmospheric opera that explores the emotional cost borne by those who sacrificed everything in pursuit of fortune during the Californian Gold Rush.
Minnie is a mature woman who has devoted her best years to offering comfort and sustenance at the Polka Saloon. As the only woman among the hardened prospectors, she is adored by them all — especially by Sheriff Jack Rance, whose infatuation becomes increasingly menacing as the drama unfolds. His jealousy intensifies when Minnie falls for Dick Johnson, later revealed to be the outlaw Ramerrez, a bandit with a price on his head.
Rance discovers Johnson in Minnie’s cabin, and the two men agree to decide his fate over a game of cards. Minnie cheats — and wins. Eventually Johnson is captured by the miners, but before they hang him he begs them not to tell Minnie: “Ch’ella mi creda libero” — “let her believe I am free.” Minnie arrives and reminds the miners of all she has sacrificed for them. Echoing themes explored in Verdi’s Stiffelio, she insists that no one is without fault and claims her right to happiness. The miners relent, allowing the lovers to ride off into the sunset.
Staging is always challenging at Opera Holland Park, with the orchestra positioned between the rear stage and the apron. Martin Lloyd-Evans’ production generally works well, particularly in the saloon scenes played at the front of the stage, while Minnie’s cabin occupies the rear in Act II. However, some of the intimacy of the central love scene is inevitably lost because of the distance from the audience.
The sets and costumes convincingly evoke the Wild West, complete with cowboy boots, hats and guns, immersing the audience in the world of the Californian Gold Rush.
Fanciulla is a slow burner. There are no instantly memorable arias such as “Che gelida manina” to ignite the action from the outset. Instead, Puccini carefully develops the community of miners, each chorus member contributing an individual personality to the unfolding drama. As a result, their eventual forgiveness of Johnson feels entirely earned.
Before the overture even begins, Rance enters the saloon and sits alone with a pack of cards. He is, above all else, a gambler.
South African soprano Amanda Echalaz, a finalist in the 2005 Cardiff Singer of the World competition, takes on the formidable role of Minnie. Opening-night nerves may have contributed to some insecurity in the top register during Acts I and II, but she fully rises to the demands of a role that builds relentlessly in intensity from the close of Act I through to the final scene. Echalaz skilfully combines passion and desperation: passion for Johnson, the only man she has ever kissed, and desperation because losing him would mean losing her final chance at love. This was an impressive role debut, and her performance will undoubtedly deepen as the run progresses.
Portuguese tenor José de Eça brings vibrancy and energy to the role of Johnson, sharply contrasting with the weary hopelessness of the miners around him. Minnie’s attraction to him is entirely believable. De Eça sings with a clear, focused tone, a clean attack, and sufficient vocal power for the role’s dramatic demands. His ravishing account of Act III’s great aria, “Ch’ella mi creda libero”, was rich in nuance and colour. It is hard to believe he began his career as a baritone.
The duets between Minnie and Johnson are among the evening’s highlights.
British bass-baritone Robert Hayward gives a solid performance as the world-weary Sheriff Jack Rance, a man whose life revolves around gambling. Johnson’s arrival as a rival for Minnie injects Rance with renewed energy, but also increasing vindictiveness. By Act III, jealousy has curdled into outright cruelty. Hayward convincingly charts the progression of a man consumed by envy and bitterness.
British mezzo-soprano Kezia Bienek makes the most of Wowkle, Minnie’s servant, who inadvertently obstructs the lovers in the cabin scene. Puccini, however, was never especially generous to mezzos.
The chorus, fully invested in their individual characters, perform superbly throughout, with particularly notable contributions from Aidan Edwards as Sonora and Zwakele Tshabalala as Nick.
British conductor Matthew Kofi Waldren works wonders in maintaining musical cohesion when so much of the action unfolds behind him.
Outstanding performances from the two principal singers, combined with the rare opportunity to hear this Puccini rarity on a balmy summer evening, make this production far too good to miss.
Opera Holland Park
Music by Giacomo Puccini (1858-1924)
Libretto Guelfo Civinini and Carlo Zangari
Based on David Belasco’s 1905 play The Girl of the Golden West
Conducted by Matthew Kofi-Walden
Directed by Martin Lloyd-Evans
First performance Metropolitan Opera, New York, 10 December 1910
Cast includes Amanda Echalaz, Robert Hayward, José de Eça, Zwakele Tshabalala,
Alaric Green, Jamie Formoy Jose Ashmore, Michael Temporal Darell, Dominick
Felix, Hugh Beckwith, Matthew Duncan, Samuel Snowden, Freddie Tong, Kezia
Bienek, Blaise Malabe, Ronald Nairne, Robert Jenkins
Running time 3 hours with one interval
In repertoire until 12 th June 2026
Photo Credit Craig Fuller