Was Puccini trying to liberate women within the Church?  That is the
issue that has arisen between the West Bay Opera's excellent chorus
master and myself, concerning the WBO's current production of "Manon
Lescaut."

In yesterday's http://www.sfcv.org/arts_revs/westbayopera_2_21_06.php,
I attributed the appearance of several women in cassock, in a religious
procession, to the lack of male chorus members.  No, I was advised after
the review appeared, women were employed to comply with Puccini's voice
requirements.

I don't remember women appearing a priests, abbots, abbes, or archimandrites
in Puccini's operas, but perhaps I had a sheltered life.  What is the
experience out there, in the larger world?  Please advise.

To give Ms. Bogart her due, I am quoting in full her letter to SFCV.org:

   In Mr. Gereben's recent review of West Bay Opera's production
   of "Manon Lescaut" he says
   
       "How far Ostwald had to go in marshalling nonexistent
       resources was clearly demonstrated by the use of women as
       priests and subteens as prostitutes in the deportation scene."
   
   The use of women as part of the second act chorus had to do with
   realizing Puccini's intent and nothing else.
   
   The score says the chorus of gentlemen and abbes (signori ed
   abati) is to be sung by contraltos, tenors and basses, four on
   a part, with no information as to correspondence between vocal
   part and character.  In our production all the notes are sung
   at the pitches Puccini asked for.  In addition to the designation
   "contralti" there is internal evidence that this part is not
   intended for typical male adult chorus voices: there are plenty
   of notes above tenor high C (C5) in the top part, the highest
   being G5.
   
   The part could be sung by countertenors, but asking for four in
   a chorus part would be most unusual; there is no tradition of
   such a thing in operas of the time.  Boy altos could also manage
   the tessitura, but would not be heard in the ensemble.  Besides,
   when Puccini wanted children's voices he typically (Tosca, La
   boheme, Turandot) asked for them by labeling the part "ragazzi".
   
   best regards,
   Joanne Bogart, Chorus Manager
   West Bay Opera

Janos Gereben/SF
www.sfcv.org
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