Falling Hard

Love, loss, and opera’s women

By Austin T. Richey, PhD

The trope of the “fallen woman” has been a recurring theme in opera for centuries, reflecting societal anxieties about female morality, sexuality, and autonomy. La traviata is perhaps the most famous opera to feature a woman who defies social or sexual norms and faces tragic consequences. Naomi André’s in-depth essay in our program book provides a fascinating look at Violetta and the world of La traviata. Other prominent examples in opera include the characters Lucia di Lammermoor, Carmen, Cio-Cio-San, Anna Nicole Smith, and Bess McNeill. These “fallen women” are not just victims but complex characters who challenge, question, and break societal rules, at great personal cost. While frequently reinforcing contemporary gender norms, these operas also offer a critique of the restrictive roles imposed on women, making these characters figures of both pathos and resistance. These operas address timeless themes such as love, suffering, autonomy, societal judgment, and the desire for dignity.

Lucia – Lucia di Lammermoor, premiered 1835
In Donizetti’s Lucia di Lammermoor, the title character is caught in a feud between her family and the family of her lover, Edgardo. Manipulated into marrying another man, Arturo, Lucia goes mad on her wedding night and kills Arturo. She later dies, still longing for Edgardo, embodying the “fallen woman” archetype through a descent into madness and tragic death, exacerbated by societal and familial pressures. Lucia’s story is a poignant exploration of the devastating effects of patriarchal control, forced marriage, and mental health.

Carmen – Carmen, premiered 1875
Carmen is a free-spirited, passionate Romani woman who works in a cigarette factory in Seville. Her rejection of social norms makes her a symbol of independence and defiance. However, her relationships, particularly with Don José, lead to jealousy and violence, culminating in Don José murdering her after she rejects him for another lover, Escamillo. Carmen’s refusal to be “owned” by any man makes her both a feminist icon and a tragic figure in the patriarchal context of the 19th century. Her unapologetic independence and uninhibited sexuality challenge traditional gender roles, and her tragic end reflects the violent consequences that often face women who live authentically and assert their independence today, particularly those forced to the margins of society.

Cio-Cio-San – Madama Butterfly, premiered 1904
In Puccini’s Madama Butterfly, Cio-Cio-San, a 15-year-old Japanese geisha known as “Madama Butterfly,” marries an American naval officer, Pinkerton. Pinkerton views their marriage as a temporary arrangement, and quickly abandons her. With an unwavering belief in love and honor, she awaits his return for many years. Eventually, Pinkerton returns with his new American wife. Cio-Cio-San is devastated and takes her own life, a victim of her love and trust in a society that does not accept her. Cio-Cio-San’s story delves into the destructive effects of colonialism and cultural imperialism, particularly on women. Her tragic fate is a result of a power imbalance between herself and Pinkerton, who disregards her culture, her feelings, and her future.

Anna Nicole Smith – Anna Nicole, premiered 2011
Mark-Anthony Turnage’s opera dives into the tumultuous life of Anna Nicole Smith, a woman whose quest for the American dream catapulted her into the chaotic world of fame. From Playboy model to billionaire’s wife, Anna Nicole’s life was a vivid spectacle of excess, ambition, and exploitation, painted against a backdrop of glittery highs and devastating lows. The opera exposes the fragile reality beneath the glamour: addiction, media scrutiny, and a relentless pursuit of love and belonging in a world eager to devour its stars. It is a story of love and loss, glitz and grit—a modern fable where the line between ambition and self-destruction blurs under the harsh lights of fame.

Bess McNeill – Breaking the Waves, premiered 2016
In Missy Mazzoli and Royce Vavrek’s Breaking the Waves, Bess McNeill is a nuanced example of a “fallen woman,” whose defiance of strict religious norms and her community’s moral standards leads to her being ostracized. Driven by an intense love for her paralyzed husband, Jan, Bess engages in risky sexual behavior at his request, believing it will aid his recovery. Her actions, viewed as sinful and degenerate in her rural 1970s Scotland town, mark her as an outcast, beyond redemption. However, Bess’s motivations are deeply rooted in faith and sacrificial love: she becomes a martyr-like figure whose purity and devotion starkly contrast with the way her community judges her. Her tragic fate invites reflection on the harsh consequences and stigmatization faced by those who defy societal norms.