E la nave va - Opera

When I first saw "E la nave va", my knowledge of opera was similar to that described by Fellini: "If you told me Pavarotti was singing in Osso Bucco instead of Nabucco, I would probably believe you" (1). In later years, after developing an interest in opera, I was eager to know Gianfranco Plenizio and Fellini's choice of music for the film. This information was difficult to obtain because the credits at the end of the picture only inform us that the responsible person for the musical selection is Plenizio and that the lyrics were specially created for the film by the poet Andrea Zanzotto. Fortunately, I came across a book by Peter Bondanella where a more detailed information is given (2). After my own research I think I have identified most of the musical references. Verdi was the composer chosen for the main musical parts of the film and this should not be a surprise. Fellini himself has been (intentionally or maliciously) compared to the great composer by Oriana Fallaci (3), and I believe that the spirit of the great composer is perfectly suited for Fellini's aesthetic ideas for "E la nave va". The predominant opera heard throughout the film is "La Forza del Destino" (4-6), not only because its "fate" theme is adequate to the mood of the film, but also because it is the most "cinematographic" of all Verdi operas. The "fate" theme struck me as music suited for film since the first time I heard it. Incidentally, Verdi died six years after the cinema was invented. I will divide this short article into three parts:

1) The Departure Scene, where we listen exclusively to "La Forza del Destino" themes (4-6);2) The Body of the Movie, where non-operatic music coexists with operatic parts and non musical references to opera are made ; and3) the Final Sequence (transfer of the Serbs, sinking of the ship by the Austro-Hungarian battle ship, final "revelation" for us, viewers) where "Forza" reappears accompanied by other Verdi themes (Aida, Nabucco, and most importantly, La Traviata (10)). 

The Departure Scene: The movie opens as a silent film in black and white. The music sounds for the first time when the ashes of Edmea Tetua arrive to the ship boarding area. There are a few sad chords in the piano, showing the ceremony of request for authorization for embarking the ashes. A whistle sounds (the moment when color begins in the film) and one maestro (wearing Fellini's directorial hat from "81/2") extends his arm, and commands the music to start. The tenor Aureliano Fuciletto (Victor Poletti) sings the initial notes of the Ronda "Compagni, sostiamo" (4) that in the original opera are not sung. And then the chorus sings to the tune of "Compagni, sostiamo". This melody, as sang by a chorus has a "marine quality" a kind of Gilbert and Sullivan quality that renders the music ideal for the adventure that the Gloria N. passengers are about to experience. When everybody starts boarding the ship, the highly spirited chorus is replaced by the famous "fate" theme , perfectly suited to the ascending movement of the passengers. Another change from mood follows, as the other traveling tenor (Sabatino Lepori, Fred Williams) sings the tune of "Le minaccie i fieri accenti..."(5). The ship finally starts moving, the passengers start waving to the farewell bidders at the port, and the famous "Deh non m' abbandonar, pietá di me Signore" (6) can be heard. The sequence is completed by a return to the"Compagni sostiamo" (4) theme, including the words : "Compagni zarpiamo, partiam, partiam e la nave va"...as the ship sails on. These are newly added words by Zanzotto., because the song is originally one of a reconnaissance army patrol (4). The Body of the Movie: after departure, we abruptly irrupt into the ship's kitchen where, in classical silent movie style, we see busy, frantic people bumping into each other. The music is the bridging theme of the March of the Flutes from The Nutcracker suite (7) but played as if it were the soundtrack of a silent movie. This is a triumph in creativity in what regards adapting music for the screen. The grotesque theme slowly fuses into the typical suave and tranquil "Flute" motif as one of the waiters enters the dining room, where everybody is enjoying a real meal (1). While the passengers spend their time eating dinner and leisurely talking, we listen to violin music (Saint Saens's Death of the Swan ) and Strauss's Blue Danube waltz. The latter is suited to the unexpected entrance of a seagull into the room.. The seagull problem is solved, a stately march marks the entrance of the Grand Duke of Herzog (Fiorenzo Serra), and we return to Strauss while the Grand Duke's blind sister sees in musical notes "an arcobaleno di colori" (Emperor waltz). This non-opera music interlude finishes with the Rubetti maestros (Umberto Zuanelli and Vittorio Zarfati) playing Mozart's famous Turkish March using tinkling glasses filled with water at different levels. We visit the main deck, where at sunset the sun coexists with the moon in the sky (the memorable line "Guarda il sole, pare finto"). Rossini's Overture from "Il Barbiere di Seviglia's" is mentioned (Fellini and Rota used this theme along with a part from Wagner's "Die Walkuren" the first time Guido Anselmi-Marcello Mastroianni visits the spa in 8 1/2). Next, we encounter one of Edmea Tetua's admirers, Il conte Di Bassano (Pasquale Zitto, the one who gave her the strange flower knows as Ruben's pistil) who projects and watches his own film of laTetua (Janet Suzman). Claire of the Moon by Debussy can be heard. Then we have the famous Sala Macchina scene, where on demand of the workers, there is a challenging duel among all the singers. It is the well-known "La donna é mobile" aria from Rigoletto (8). Ildebranda Cuffari (Barbara Jefford) sings the famous "Amami, Alfredo" from La Traviata (9 ). Finally, the words from "La Donna é Mobile ": "...e di pensier" are repeated in a crescendo spiraling, towering, fashion in a furious competition. This is not the usual fioritura finishing of "La Donna é Mobile" that can be heard at the opera theatre, but a new, desperate way of saying "e di pensier". Returning to the main deck, we listen to Ildebranda Cuffari singing Debussy and the oratorio Domine Deus. During the medium session where some members of the party want to interrogate Edmea herself, there are references to the "gelida manina" (from Puccini's La Boheme), and the mysteriously falling book that , when opened, allows us to see a image of "La Gioconda" (another opera by Ponchielli). Saint Saens's Death of the Swan theme can be heard while the starved Serbians watch the passengers eat dinner, followed by incidental gypsy music. This is started by the Serbians, who start an animated dance. They are later joined by other members of the party.. This second part concludes when the Austro-Hungarian battleship captain allows the Gloria N to continue its voyage, towards Erimo island, its final destination. We listen to the sad piano chords that heralded the arrival of Tetua's mortal rests at the port. After several whistles, a phonograph plays an aria which I believe is from "Aida", although I am not familiar with this opera. The Final Sequence: This starts with an explanation by the narrator Orlando (Freddie Jones) that the Austro-Hungarians, out of respect, allowed the ash dispersion ceremony, but what they really wanted was the Serbs ("e come li volevano!"). He first imagines what would have happened should the captain of the Gloria N. have refused to transfer the Serbs to the battleship The maestro commands the singers to start a "non ve li diamo"at the tune of the famous "Va pensiero", from "Nabucco". But we realize that in fact, the transfer was made. As the Duke and his party leave the ship, the fate theme is reinstated (as it corresponds with a danger scene). This is abruptly interrupted by an "Ohime!" by Fuciletto who adopts a defiant gesture. The Serbs start boarding the boats to be transferred to the Austrian battleship, and we listen to "Deh non m' abbandonar, pietá di me Signore" (6) (it is not a chorus in the original opera). There is an operatic interruption, by a Strauss's motiff that underlines the cries of "Guerrra! Guerra!", a superb musical device that is followed by a crescendo theme of five hammering notes fused followed by a special theme from "La Traviata" (10). Recall that in the opera, this climactic scene is played and sung by Violetta, Germont, and Alfredo after the latter has insulted Violetta in front of all guests (10). In the actual opera this is sung, whereas in the film is just music (a trumpet sounds as if Nino Rota would have chosen this part!). After this important statement from "La Traviata" (10), the "fate" theme returns, coinciding with the young Serb (the one in love with the girl) throwing of a bomb into the battleship. Orlando states that, apart from that bomb, other causes might have explained the sinking of the Gloria N. Violins play in a tremolo fashion the "Deh non m' abbandonar, pietá di me Signore"(6) and triumphantly the "Traviata" melody (10) returns accompanying the passengers to abandon the ship. In succesive scenes the dining room furniture slides, baggage is seen drifting in a flooded lobby, and two butterflies poetically span the lobby. The "Deh non m' abbandonar, pietá di me Signore".6) is played in a piano, while the Count Di Bassano projects and watches his film of the diva. The Verdi music fuses with the "Clair de lune "by Debussy. On the deck the chorus keeps singing with renewed vigor, a chorus from Aida, and a dismayed photographer tries to capture this dramatic scene for posterity. As a kind of revelation for us viewers, the "Deh non m' abbandonar, pietá di me Signore"(6) is played in a piano (in Nino Rota's style) and we gradually realize that everything was pure illusion (the sea was a plastic one, there is actual people fabricating this story, we are also being filmed). I hope that somebody makes this identification of music a bit better. To me, it is clear that the task of adapting opera music to a film which is not an opera itself, has been masterfully accomplished. (1) Chandler, Charlotte (1995) I, Fellini. Random House, New York, 1995.(2) Bondanella, Peter (1992) The Cinema of Federico Fellini. Princeton University Press, Princeton, New Jersey (as a footnote to pp. 216).(3) Fallaci, Oriana (1963) Gli Antipatici, Rizzoli, Milano.(4) La Forza del Destino, Atto tre Ronda "Compagni, sostiamo"(5) La Forza del Destino, Atto quarto, Scena e duetto (Carlo and Alvaro) "Le minaccie, i fieri accenti"(6) La Forza del Destino, Atto secondo Aria : "Madre pietosa vergine"... "Deh non m' abbandonar, pietá di me Signore".(7) "Dance of the Flutes" from Tchaikowsky's Nutcracker Suite op 71a.(8) Rigoletto, Atto terzo, Preludio, Scena, e Canzone(9) La Traviata, Atto Secondo, Scena sei (heard also in the Overture)(10) La Traviata, Atto secondo, Scena quindici