演出普契尼精心编排的西部电影式歌剧《西方女郎》(La Fanciulla delWest),需要满足两个条件:能够协调乐谱中奢华独创性的指挥家;能够为苛求的剧名角色持续注入激情与音色魅力的女高音。《西方女郎》融合了美国民间音乐的体裁,如拉格泰姆(Ragtime),但又一脉秉承了普契尼那不断演进的意大利色彩,包括受《蝴蝶夫人》影响而产生的东方气息浓郁的笔触。或许更令人心驰神往的是见证了普契尼在编曲衔接与控制音乐节奏骤变以凸显歌剧中的即时场景(比如第二幕中的暴风雪)方面取得进步。这种效果极大地影响了好莱坞原声音乐发展的轨迹。他一生痴迷于戏剧现实主义,这一点亦为众多剧作家们不遗余力地证明,不难想象普契尼成为20世纪作曲家们 Performed by Puccini’s well-catered western style opera “La Fanciulla delWest”, there are two conditions that must be met: a conductor who can coordinate the genius of music in the score, a person who can continue to inject passion and tone into the demanding character’s role Charming soprano. Western Girl combines the genres of American folk music, such as Ragtime, but in a single vein inherits Puccini’s evolving Italian colors, including the oriental flavor of the Madame Butterfly Brush strokes. Perhaps even more fascinating is the testimony that Puccini has made progress in arranging and controlling the sudden changes in the rhythm of music to highlight immediate scenes in the opera, such as the Blizzard in Act II. This effect has greatly affected the trajectory of the Hollywood soundtrack music development. His life obsessed with the drama realism, which is also for many playwright spared no effort to prove that it is not difficult to imagine Puccini became the 20th century composers