Dramatiskt kulturmöte

Drygt 150 personer vallfärdade till Röda Kvarn  för att se Puccinis ”Madame Butterfly”. Hög stämning och förväntan. 

Att sända direkt via satellit är ett tekniskt äventyr. Under de första föreställningarna hösten 2013 satt jag på helspänn när sändningen började. Skulle vi få någon bild? Är ljudet bra? Idag känns det betydligt lugnare. Metropolitan har successivt utvecklat sändningstekniken och dessutom har vi en suverän maskinist, som med varsam hand bidrar till att ge oss en högkvalitativ sändning.

Så till operan. Huvudrollerna (den japanska geishan och den amerikanske marinofficeren) kreerades fullödigt av Kristine Opolais och Roberto Alagna, båda bekanta från ”Manon Lescaut”. Relationen mellan Cio-Cio-San och Pinkerton illustrerade de kulturmöten, som är allt vanligare i dagens samhälle, och i denna opera ett möte, som utvecklas på ett särskilt tragiskt sätt. Kanske borde de ha lyssnat mer intensivt till den reflekterande Sharpless, som varnade för vad som var på gång. Kanske borde Sharpless själv visat mer civilkurage. Sådant verkar det alltid vara brist på.

Puccini blev känd för att teckna mångtydiga kvinnoroller i sina operor. Cio-Cio-San är inget undantag. Hon visar flera sidor som ytligt sett inte hänger ihop, men där avgörande livshändelser väcker nya drag i personligheten. Det är intressant att reflektera över Madame Butterfly och över Manon Lescaut, Mimi i ”La Bohéme”, Tosca och Turandot. Finns där någon röd tråd?

Man kan också begrunda de mansroller, som Puccini skapade. Pinkerton i ”Madame Butterfly” gav  intryck att vara en aningslös eller amoralisk person, ganska blek i framtoningen. Sharpless var utan tvivel mer eftertänksam, dock utan den handlingskraft som hade behövts. Jag tycker mig känna igen mönstret från de manliga huvudpersonerna i andra Puccini-operor. De sjunger vackert, men verkar i övrigt ganska schablonartade. Var det Puccinis avsikt att få operapubliken att diskutera detta? Eller är det så att tolkningen av gestalter på operascenen växlar över tiden? Att vi ständigt kan se något nytt i en opera?

När jag gick hem från Röda Kvarn den kvällen tänkte jag – än en gång – på Puccinis förmåga att uttrycka känslor i sin musik. Han gjorde det på ett för den tiden modernt sätt, med en utvecklad harmonik som stödjer smäktande melodier. Det gillar jag.

(april 2016)

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