The two arias dedicated to Liu in the third act ("Lots of love secret and unacknowledged" and "You gel that six city") are memorable and reach the summit of that song longing of the soul in Puccini is a master and has made her immortal heroines of love (Butterfly, Tosca, Mimi ...). Puccini seems to be particularly attracted to these young women who allow themselves to die or sacrifice themselves for love, and we are always very moved and impressed by these sacrifices. But beyond the similarities, differences should be seen to better identify the psychological complexities of such heroines. Here we try to do it and we'll see that Liu is not as simple as that. There is a poet who is especially fascinated by the heroines of love, especially those not reciprocated, making a model and one of the favorite tunes of his poetry: Rainer Maria Rilke . They are the purest example of the superiority of feeling free and open, singing its own sake, to love without expecting to be loved, and still the real possibility of refining capacity for expansion as an expression of love ' soul. In the first Duino Elegies read:
(...) "But if you yearn so, he sings the love.
course, is not quite immortal their feelings known.
Sing them, the abandoned, you almost envy,
you seemed to placate the more lovers. Take it
always the unattainable celebration;
thinks, the hero endures, even death for him was only a pretext for
be: his last birth.
But the heroines of love itself again if the exhausted Nature
as if there were no forces twice, to accomplish this.
You sang quite Gaspara Stampa, that some girl
which escapes the beloved, exalted example of this love,
feel: I can be like her?
as old pain, should not now,
become more fruitful for us? Is not it time loving,
we are liberated from being loved, support him fuming:
as the arrow is holding the rope, jump in the entire collection,
to overcome them? That you can not stay, no where. "(...)
(RM Rilke, Duino Elegies, trans. Igea and Enrico De Portu, ed. Einaudi)
This superiority praised by Rilke and mystics do not is free, it is possible and desirable only if the consideration moving higher and within us, while loving a human being - man or woman - without expecting to be loved, you could keep alight the flame to connect to a higher level, to keep alive a mystical power that makes the spirit alert and open indefinitely. Gaspara Print (1523-54), taken from Rilke as a model of its heroines, abandoned by the Venetian Count Collaltino Collalto, kept intact its sentiment and wrote one of the most heartfelt love song books in the history of poetry. Sure we know a song more perfect, that of Petrarch (who clearly was inspired by Gaspara Press), also a love song unattainable and impossible, but it seems that commuovesse Rilke is more to the young woman who died at 31 years, consumed by a fever that was not just that of the body. "The heroines of love takes over if the exhausted itself the nature ...": the dead girl, then, as the seal of the longing of the soul.
But back to Liu and his death. It's always been said that Liu died for love, to save the not revealing the name of his beloved, and in the gesture of taking his own life ahead of him and Turandot is having the supreme test of his sacrifice. But it is only in this way? Surely Liu's love is great, and in comparison with the powerful princess, when asked the source of such power, does not hesitate to recognize it: "Lots of love secret and unacknowledged, so great that these tortures are sweet for me because I make a gift to my Lord ...". I Turandot remains very disturbed because it is the first time that his hatred for the man meets a feeling as strong, but in a opposite: a woman who proves that you can love what she considers the most cruel enemy of the woman, to death. Sure, she has seen men accept death for his love, but the situation was very different: the young princes in love consciously defied death, running a risk that they at least had a chance, hope of victory, while love Liu's hopeless, and so far all the "secret and unacknowledged." But paradoxically, while it was secret and unacknowledged, when the old king Timur accompanied in exile, there was a hope, and hope this collapses at the very moment in which he reveals his love, because it is now clear that Calaf, Turandot madly in love with while seeing her so cruel, can never match and accept his love. And this is the real reason for suicide: the collapse of hope. Liu has proven to be strong enough to even know how to resist torture, and not to disclose the name is indeed the "supreme pleasure", because it can "keep it secret and only I possess." And so it is not true that dies not reveal the name dies not see all the way to victory but that is helping to prepare.
He says clearly at the end of the second air poignant: "(...) I close my tired eyes because he wins again ... Non ... never to see him more, "and this" never to see him more "is repeated twice. Liù dies So why not stand to see the realization of the love between Turandot and Calaf, and this makes it much more humane and less heroic . This also ties to the original character of Carlo Gozzi, where there is but Adelma Liu, a princess who after the defeat of his father were enslaved and is now part of the maids of Turandot, he even wins the trust and spurs, flattering the consistency and firmness, not to yield to the Prince who solved the puzzles, because he recognized the very young refugee in the palace of his father, whom she secretly loved basis that it is not noble and therefore not worthy. Seeing it again now and knowing the prince, is taken by that love and jealousy do not hesitate, just to have it, to plot a series of deceptions that are eventually exposed, tries to commit suicide in front of Turandot and Calaf, just like Liu, but is stop in time, which does not happen to Liu. The replacement of Adelma with Liu is the most important change that has required the work of Puccini Gozzi, apparently to introduce the most romantic hero, in keeping with his feeling and closer to other creatures. But part of Adelma remains alive in the final statement of Liu and the choice of avoiding the failure of hope.
One is reminded of another suicide of a heroine east to Butterfly. But this is a very different death, and it is important to realize this: the act of Butterfly after extreme disappointment, the discovery that Pinkerton will never return to her and that her love was based on an idealization, it marks a new awareness how through love for a foreigner had lost its deepest identity, abandoning their tradition of living and to give themselves to another religion and another style of life that does not correspond closely. When realized through the treachery of Pinkerton that the real betrayal is his, to itself and its soul, committed suicide in a ritual way, thus resuming contact, through death, with their ancestors and asking for forgiveness to the gods of his religion. So the death of the heroine is a Japanese real act of inner awakening, and the only way to find herself, following in the footsteps of his father and the best traditions of the samurai and the spiritual masters, in which death is a choice of allegiance themselves and the values \u200b\u200bof the Spirit. Liu's death is rather a surrender to despair, finding it impossible to dissuade Calaf from Turandot, is less than the very meaning of human life he loved fully screened. Is not part of the "dependent", the "bond of love" that if there is no other, its own independent center, marks the end of the woman herself, of the whole person. How many deep depressions, real psychic death, we are committed in the name of an unrequited love? But here, fortunately, there is a counterpoint: the sacrifice of the part that lives only for love of man triggers the feeling of the other party, the virginal and closed, totally independent man. And so a supplement may be decisive of the deep conflict and division so far in place. The Sacrifice of Liu is not useless, and we'll see how the love of Liu in Turandot rise again, but not as a unilateral commitment to another, but as open and surrender to a higher power that reconciles opposites.
Click here for the lyrics to "You gel that six boundary.
LIÙyou that six of gel boundary,
won by so much the flame
will love you too!
Before the break,
I close my tired eyes,
because he wins again ...
not to see it again!
(It takes surprise a dagger from a soldier and stabs to death. Sways amid the terror of all and it falls at the feet of the prince.)
| Maria Callas | Renata Tebaldi |
| Elisabeth Schwarzkopf | Angela Gheorghiu |
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