Giacomo Puccini

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Giacomo Puccini

Giacomo Antonio Domenico Michele Secondo Maria Puccini (Italian: [ˈdʒaːkomo putˈtʃiːni]; 22 December 1858 – 29 November 1924), generally known as Giacomo Puccini, was an Italian composer whose operas are among the important operas played as standards.[n 1]

Puccini has been called "the greatest composer of Italian opera after Verdi".[1] While his early work was rooted in traditional late-19th-century romantic Italian opera, he successfully developed his work in the 'realistic' verismo style, of which he became one of the leading exponents.

Family and education[edit]

Puccini's birthplace, seen in 1984
Statue of Puccini in front of his birthplace

Puccini was born in Lucca in Tuscany, in 1858. He was one of seven children of Michele Puccini and Albina Magi. The Puccini family was established in Lucca as a local musical dynasty by Puccini's great-great grandfather – also named Giacomo (1712–1781).[2][3] This first Giacomo Puccini was maestro di cappella of the Cattedrale di San Martino in Lucca.[4] He was succeeded in this position by his son, Antonio Puccini,[4] and then by Antonio's son Domenico, and Domenico's son Michele (father of the subject of this article).[2] Each of these men studied music at Bologna, and some took additional musical studies elsewhere.[2][4] Domenico Puccini studied for a time under Giovanni Paisiello.[2] Each composed music for the church. In addition, Domenico composed several operas, and Michele composed one opera.[2] Puccini's father Michele enjoyed a reputation throughout northern Italy, and his funeral was an occasion of public mourning, at which the then-famed composer Giovanni Pacini conducted a Requiem.[5]

With the Puccini family having occupied the position of maestro di cappella for 124 years (1740–1864) by the time of Michele's death, it was anticipated that Michele's son Giacomo would occupy that position as well when he was old enough.[3] However, when Michele Puccini died in 1864, his son Giacomo was only six years old, and thus not capable of taking over his father's job.[2] As a child, he nevertheless participated in the musical life of the Cattedrale di San Martino, as a member of the boys' choir and later as a substitute organist.[3]

Puccini was given a general education at the seminary of San Michele in Lucca, and then at the seminary of the cathedral.[2] One of Puccini's uncles, Fortunato Magi, supervised his musical education. Puccini got a diploma from the Pacini School of Music in Lucca in 1880, having studied there with his uncle Fortunato, and later with Carlo Angeloni, who had also instructed Alfredo Catalani. A grant from the Italian Queen Margherita, and assistance from another uncle, Nicholas Cerù, provided the funds necessary for Puccini to continue his studies at the Milan Conservatory,[2][5] where he studied composition with Stefano Ronchetti-Monteviti, Amilcare Ponchielli, and Antonio Bazzini. Puccini studied at the conservatory for three years. In 1880, at the age of 21, Puccini composed his Mass, which marks the culmination of his family's long association with church music in his native Lucca.[n 2]

Early career and first operas[edit]

Puccini wrote an orchestral piece called the Capriccio sinfonica as a thesis composition for the Milan Conservatory. Puccini's teachers Ponchielli and Bazzini were impressed by the work, and it was performed at a student concert at the conservatory. Puccini's work was favorably reviewed in the Milanese publication Perseveranza,[2] and thus Puccini began to build a reputation as a young composer of promise in Milanese music circles.

Le villi[edit]

After the premiere of the Capriccio sinfonica, Ponchielli and Puccini discussed the possibility that Puccini's next work might be an opera. Ponchielli invited Puccini to stay at his villa, where Puccini was introduced to another young man named Fernando Fontana.[2] Puccini and Fontana agreed to collaborate on an opera, for which Fontana would provide the libretto. The work, Le villi, was entered into a competition sponsored by the Sozogno music publishing company in 1883 (the same competition in which Pietro Mascagni's Cavalleria rusticana was the winner in 1889).[2] Although it did not win, Le villi was later staged at the Teatro Dal Verme, premiering on 31 May 1884.[2] G. Ricordi & Co. music publishers assisted with the premier by printing the libretto without charge.[2] Fellow students from the Milan Conservatory formed a large part of the orchestra.[2] The performance was enough of a success that Casa Ricordi purchased the opera.[2] Revised into a two-act version with an intermezzo between the acts, Le villi was performed at La Scala in Milan, on 24 January 1885. However, Ricordi did not publish the score until 1887, hindering further performance of the work.[2]

Edgar[edit]

Giulio Ricordi, head of G. Ricordi & Co. music publishers, was sufficiently impressed with Le villi and its young composer that he commissioned a second opera, which would result in Edgar. Work was begun in 1884 when Fontana began working out the scenario for the libretto.[6] Puccini finished primary composition in 1887 and orchestration in 1888.[6] Edgar premiered at La Scala on 21 April 1889 to a lukewarm response.[6] The work was withdrawn for revisions after its third performance.[6] In a Milanese newspaper, Giulio Ricordi published a defense of Puccini's skill as a composer, while criticizing Fontana's libretto. A revised version met with success at the Teatro di Giglio in Puccini's native Lucca on 5 September 1891.[6] In 1892, further revisions reduced the length of the opera to three acts from four, in a version that was well received in Ferrara and was performed in Turin and in Spain.[6] Puccini made further revisions in 1901 and 1905, but the work never achieved popularity.[6] But for the personal support of Ricordi, Edgar might have cost Puccini his career. Puccini had eloped with his former piano student, the married Elvira Gemignani, and Ricordi's associates were willing to turn a blind eye to his life style as long as he was successful. When Edgar failed, they suggested to Ricordi that he should drop Puccini, but Ricordi said that he would stay with him and continued his allowance until his next opera.[7]

Manon Lescaut[edit]

On commencing his next opera, Manon Lescaut, Puccini announced that he would write his own libretto so that "no fool of a librettist"[8] could spoil it. Ricordi persuaded him to accept Ruggero Leoncavallo as his librettist, but Puccini soon asked Ricordi to remove him from the project. Four other librettists were then involved with the opera, as Puccini constantly changed his mind about the structure of the piece. It was almost by accident that the final two, Luigi Illica and Giuseppe Giacosa, came together to complete the opera.

Manon Lescaut premiered at the Teatro Regio in Turin on 2 February 1893.[9] By coincidence, Puccini's first enduringly popular opera appeared within a week of the premiere of Verdi's last opera, Falstaff, which was first performed on 9 February 1893.[9] In anticipation of the premiere, La Stampa wrote that Puccini was a young man concerning whom "great hopes" had a real basis ("un giovane che e tra i pochi sul quale le larghe speranze non siano benigne illusioni").[9] Because of the failure of Edgar, however, a failure of Manon Lescaut could have jeopardized Puccini's future as a composer. Although Giulio Ricordi, head of Casa Ricordi, was supportive of Puccini while Manon Lescaut was still in development, the Casa Ricordi board of directors was considering cutting off Puccini's financial support.[10] In the event, "Manon Lescaut was Puccini's first and only uncontested triumph, acclaimed by critics and public alike."[11] After the London premiere in 1894, George Bernard Shaw pronounced: "Puccini looks to me more like the heir of Verdi than any of his rivals."[12]

Illica and Giacosa returned as librettists for Puccini for his next three operas, probably his greatest successes: La bohème, Tosca and Madama Butterfly. Manon Lescaut was a great success and established Puccini's reputation as the most promising rising composer of his generation, and the most likely "successor" to Verdi as the leading exponent of the Italian operatic tradition.[5]

Middle career[edit]

Original poster for Puccini's Tosca

La bohème[edit]

Puccini's next work after Manon Lescaut was La bohème, a four-act opera based on the 1851 book by Henri Murger, La Vie de Bohème. La bohème premiered in Turin in 1896, conducted by Arturo Toscanini.[13] Within a few years, it had been performed throughout many of the leading opera houses of Europe, including Britain, as well as in the United States.[14] It was a popular success, and remains one of the most frequently performed operas ever written.

The libretto of the opera, freely adapted from Murger's episodic novel combines comic elements of the impoverished life of the young protagonists with the tragic aspects, such as the death of the young seamstress Mimí. Puccini's own life as young man in Milan served as a source of inspiration for elements of the libretto. During his years as a conservatory student and in the years before Manon Lescaut, he experienced poverty similar to that of the bohemians in La bohème, including chronic shortage of necessities like food, clothing and money to pay rent. Although Puccini was granted a small monthly stipend by the Congregation of Charity in Rome (Congregazione di caritá), he frequently had to pawn his possessions to cover basic expenses.[2][15] Early biographers such as Wakeling Dry and Eugenio Checchi, who were Puccini's contemporaries, drew express parallels between these incidents and particular events in the opera.[2][15] Checchi cited a diary kept by Puccini while he was still a student, which recorded an occasion in which, as in Act 4 of the opera, a single herring served as a dinner for four people.[2][15] Puccini himself commented: "I lived that Bohème, when there wasn't yet any thought stirring in my brain of seeking the theme of an opera. (Quella Bohème io l’ho vissuta, quando ancora non mi mulinava nel cervello l’idea di cercarvi l’argomento per un’opera in musica.)"[15]

Tosca[edit]

Puccini's next work after La bohème was Tosca (1900), arguably Puccini's first foray into verismo, the realistic depiction of many facets of real life including violence. Puccini had been considering an opera on this theme since he saw the play Tosca by Victorien Sardou in 1889, when he wrote to his publisher, Giulio Ricordi, begging him to get Sardou's permission for the work to be made into an opera: "I see in this Tosca the opera I need, with no overblown proportions, no elaborate spectacle, nor will it call for the usual excessive amount of music."[16]

Puccini photographed in 1908

The music of Tosca employs musical signatures for particular characters and emotions, which have been compared to Wagnerian leitmotivs, and some contemporaries saw Puccini as thereby adopting a new musical style influenced by Wagner. Others viewed the work differently. Rejecting the allegation that Tosca displayed Wagnerian influences, a critic reporting on the 20 February 1900 Torino premiere wrote: "I don't think you could find a more Puccinian score than this."[17]

Automobile accident and near death[edit]

On 25 February 1903, Puccini was seriously injured in a car accident during a nighttime journey on the road from Lucca to Torre del Lago. The car was driven by Puccini's chauffeur and was carrying Puccini, his wife Elvira, and their son Antonio. It went off the road, fell several metres, and flipped over. Elvira and Antonio were flung from the car and escaped with minor injuries. Puccini's chauffeur, also thrown from the car, suffered a serious fracture of his femur. Puccini was pinned under the vehicle, with a severe fracture of his right leg and with a portion of the car pressing down on his chest. A doctor living near the scene of the accident, together with another person who came to investigate, saved Puccini from the wreckage.[18] The injury did not heal well, and Puccini remained under treatment for months. During the medical examinations that he underwent it was also found that he was suffering from a form of diabetes.[19] The accident and its consequences slowed Puccini's completion of his next work, Madama Butterfly.

Madama Butterfly[edit]

The original version of Madama Butterfly, premiered at La Scala on 17 February 1904, was initially greeted with great hostility (probably largely owing to inadequate rehearsals). This version was in two acts;[20] after its disastrous premiere, Puccini withdrew the opera, revising it for what was virtually a second premiere at Brescia in May 1904[21] and performances in the USA and Paris. In 1907, Puccini made his final revisions to the opera in a fifth version,[22] which has become known as the "standard version". Today, the standard version of the opera is the version most often performed around the world. However, the original 1904 version is occasionally performed as well, and has been recorded.[23]

Later works[edit]

Giacomo Puccini with conductor Arturo Toscanini

After 1904, Puccini's compositions were less frequent. In 1906 Giacosa died and, in 1909, there was scandal after Puccini's wife, Elvira, falsely accused their maid Doria Manfredi of having an affair with Puccini. Finally, in 1912, the death of Giulio Ricordi, Puccini's editor and publisher, ended a productive period of his career.

La fanciulla del West[edit]

Puccini completed La fanciulla del West, based on a play by David Belasco, in 1910. This was commissioned by, and first performed at, the Metropolitan Opera in New York on 10 December 1910 with Met stars Enrico Caruso and Emmy Destinn for whom Puccini created the leading roles of Dick Johnson and Minnie. Toscanini, then the musical director of the Met, conducted.[24] This was the first world premiere of an opera at the Met.[25] The premiere was a great success.[26] However, the compositional style employed in the opera, with few stand-alone arias, was criticized at the time[27] and remains a barrier to the opera's complete acceptance into the standard repertoire. Some contemporaries also criticized the opera for failing to achieve an "American" tone.[28][29] However, the opera has been acclaimed for its incorporation of advanced harmonic language and rhythmic complexity into the Italian operatic form.[30] In addition, one aria from the opera, Ch'ella mi creda, has become a staple of compilation albums by operatic tenors. It is said that during World War I, Italian soldiers sang this aria to maintain their spirits.[31][32]

La rondine[edit]

Puccini completed the score of La rondine, to a libretto by Giuseppe Adami in 1916 after two years of work, and it was premiered at the Grand Théâtre de Monte Carlo on 27 March 1917. The opera had been originally commissioned by Vienna's Carltheater; however, the outbreak of World War I prevented the premiere from being given there. Moreover, the firm of Ricordi had declined the score of the opera – Giulio Ricordi's son Tito was then in charge and he described the opera as "bad Lehár".[33] It was taken up by their rival, Lorenzo Sonzogno, who arranged the first performance in neutral Monaco.[34] The least known of Puccini's mature operas, the composer continued to work at revising it until his death.

La rondine was initially conceived as an operetta, but Puccini eliminated spoken dialogue, rendering the work closer in form to an opera. A modern reviewer described La rondine as "a continuous fabric of lilting waltz tunes, catchy pop-styled melodies, and nostalgic love music," while characterizing the plot as recycling characters and incidents from works like 'La traviata' and 'Die Fledermaus'.[35]

Il trittico: Il tabarro, Suor Angelica, and Gianni Schicchi[edit]

In 1918, Il trittico premiered in New York. This work is composed of three one-act operas: a horrific episode (Il tabarro) in the style of the Parisian Grand Guignol, a sentimental tragedy (Suor Angelica), and a comedy (Gianni Schicchi). Of the three, Gianni Schicchi, containing the popular aria "O mio babbino caro", has remained popular.

Turandot[edit]

Turandot, Puccini's final opera, was left unfinished, and the last two scenes were completed by Franco Alfano based on the composer's sketches. The libretto for Turandot was based on a play of the same name by Carlo Gozzi.[36] The music of the opera is heavily inflected with pentatonic motifs, intended to produce an Asiatic flavor to the music. Unlike La fanciulla, Turandot contains a number of memorable stand-alone arias, among them Nessun dorma.

Puccini and his librettists[edit]

The libretto of Edgar was a significant factor in the failure of that opera. Thereafter, especially throughout his middle and late career, Puccini was extremely selective, and at times indecisive, in his choice of subject matter for new works.[6] Puccini was deeply involved in the process of writing the libretto itself, requiring many iterative revisions of his libretti in terms of both structure and text. Puccini's relationships with his librettists were at times very difficult. His publisher, Casa Ricordi, was frequently required to mediate disputes and impasses between them.[10]

Puccini explored many possible subjects that he ultimately rejected only after a significant amount of effort—such as the creation of a libretto—had been put into them.[37] Among the subjects that Puccini seriously considered, but abandoned, were: Cristoforo Sly, Anima Allegra (based on the play El genio alegre by Serafín and Joaquín Álvarez Quintero), Two Little Wooden Shoes (I due zoccoletti) (a short story by Maria Louise Ramé, aka Ouida), the life of Marie Antoinette, Margherita da Cortona, and Conchita (based on the novel La Femme et le pantin --The Woman and the Puppet, by Pierre Loüys).[10] Some of these abandoned subjects were taken up and turned into operas by other composers. For example, Franco Vittadini made an opera of Anima Allegra, Mascagni's opera Lodoletta is derived from Two Little Wooden Shoes, and Riccardo Zandonai eventually wrote Conchita.[10]

Puccini at Torre del Lago[edit]

From 1891 onwards, Puccini spent most of his time, when not traveling on business, at Torre del Lago, a small community about fifteen miles from Lucca situated between the Ligurian Sea and Lake Massaciuccoli, just south of Viareggio. Torre del Lago was the primary place for Puccini to indulge his love of hunting. "I love hunting, I love cars: and for these things, in the isolation of Torre del Lago, I keep the faith." ("Amo la caccia, adoro l’automobile: e a questo e a quella nelle solitudini di Torre del Lago serbo intera la mia fede.")[38]

By 1900, he had acquired land and built a villa on the lake, now known as the "Villa Museo Puccini." He lived there until 1921, when pollution produced by peat works on the lake forced him to move to Viareggio, a few kilometres north. After his death, a mausoleum was created in the Villa Puccini and the composer is buried there in the chapel, along with his wife and son who died later.

The Villa Museo is presently owned by his granddaughter, Simonetta Puccini, and is open to the public. An annual Festival Puccini is held at Torre del Lago.

Marriage and affairs[edit]

In the autumn of 1884, Puccini began a relationship with a married woman named Elvira Gemignani (née Bonturi) in Lucca. Elvira's husband, Narisco Gemignani, was an "unrepentant womanizer", and Elvira's marriage was not a happy one.[6] Elvira became pregnant by Puccini, and their son, Antonio, was born in 1886. Elvira left Lucca when the pregnancy began to show, and gave birth elsewhere to avoid gossip.[6] Elvira, Antonio and Elvira's daughter by Narisco, Fosca, began to live with Puccini shortly afterwards. Narisco was killed by the husband of a woman that Narisco had an affair with, dying on 26 February 1903.[6] Only then were Puccini and Elvira able to marry, and to legitimize Antonio.

The marriage between Puccini and Elvira was also troubled by infidelity, as Puccini had frequent affairs himself, including with well-known singers such as Maria Jeritza, Emmy Destinn, Cesira Ferrani, and Hariclea Darclée.[6]

In 1909, Puccini's wife Elvira publicly accused Doria Manfredi, a maid working for the Puccini family, of having an affair with the composer. After being publicly accused of adultery, Doria Manfredi committed suicide. An autopsy determined, however, that Doria had died a virgin, refuting the allegations made against her. Elvira Puccini was prosecuted for slander, and was sentenced to more than five months in prison, although a payment to the Manfredi family by Puccini spared Elvira from having to serve the sentence.[39] According to documents found in the possession of a descendant of the Manfredi family, Nadia Manfredi, in 2007, Puccini was actually having an affair with Giulia Manfredi, Doria's cousin. Press reports at the time when these documents were discovered alleged that Nadia Manfredi was Puccini's granddaughter, by a son, Antonio Manfredi, born to Giulia.[39][40] Some music critics and interpreters of Puccini's work have speculated that the psychological effects of this incident on Puccini interfered with his ability to complete compositions later in his career, and also influenced the development of his characters such as Liu (from Turandot), a slave girl who dies tragically by suicide.[41][42][43]

Politics[edit]

Unlike Verdi, Puccini was not active in the politics of his day. Puccini biographer Mary Jane Phillips-Matz wrote: "Puccini's interest in politics was close to zero .. all his life. He seemed indifferent to everything from mayoral elections in Viareggio to cabinet appointments in Rome."[10] Another biographer speculates that Puccini may have been—if he had a political philosophy—a monarchist.[44]

Puccini's indifference to politics caused him personal and professional problems during World War I. Puccini's long-standing and close friendship with Toscanini was interrupted for nearly a decade because of an argument in the summer of 1914 (in the opening months of the war) during which Puccini remarked that Italy could benefit from German organization.[10] Puccini was also criticized during the war for his work on La rondine under a 1913 commission contract with an Austrian theater after Italy and Austria-Hungary became opponents in the war in 1914 (although the contract was ultimately cancelled). Puccini did not participate in the public war effort, but privately rendered assistance to individuals and families affected by the war.[10]

In 1919, Puccini was commissioned to write music to an ode by Fausto Salvatori honoring Italy's victories in World War I. The work, Inno a Roma (Hymn to Rome), was to premiere on 21 April 1919, during a celebration of the anniversary of the founding of Rome. The premiere was delayed to 1 June 1919, when it was played at the opening of a gymnastics competition.[45] Although not written for the fascists, the Inno a Roma was widely played during Fascist street parades and public ceremonies.[46]

Puccini had some contact with Benito Mussolini and the Italian fascist party in the year preceding his death. Unsolicited, in 1923 the fascist party in Viareggio made Puccini an honorary member and sent him a membership card.[10] However, evidence that Puccini was actually a member of the Fascist party is equivocal.[47] The Italian Senate has traditionally included a small number of members appointed in recognition of their cultural contributions to the nation. Puccini hoped to attain this honor, which had been granted to Verdi, and undertook to use his connections to bring about the appointment. While honorary senators could vote, there is no indication that Puccini sought the appointment for this purpose. Puccini also wished to establish a national theater in Viareggio, a project which would require government support. Puccini met with Mussolini twice, in November and December 1923, seeking support for the theater project. While the theater project never came to fruition, Puccini was named Senator (senatore a vita) a few months before his death.[10]

At the time Puccini met with Mussolini, Mussolini had been prime minister for approximately a year, but his party had not yet taken full control of the Italian Parliament through the violence and irregularities of the Italian general election, 1924. Puccini was no longer alive when Mussolini announced the end of representative government, and the beginning of a fascist dictatorship, in his speech before the Chamber of Deputies on 3 January 1925.[48]

Death[edit]

Plaque at Puccini's last residence in Brussels

A chain smoker of Toscano cigars and cigarettes, Puccini began to complain of chronic sore throats towards the end of 1923. A diagnosis of throat cancer led his doctors to recommend a new and experimental radiation therapy treatment, which was being offered in Brussels. Puccini and his wife never knew how serious the cancer was, as the news was only revealed to his son.

Puccini died in Brussels on 29 November 1924, from complications after the treatment; uncontrolled bleeding led to a heart attack the day after surgery. News of his death reached Rome during a performance of La bohème. The opera was immediately stopped, and the orchestra played Chopin's Funeral March for the stunned audience.[citation needed] He was buried in Milan, in Toscanini's family tomb, but that was always intended as a temporary measure. In 1926 his son arranged for the transfer of his father's remains to a specially created chapel inside the Puccini villa at Torre del Lago.

Puccini, his contemporaries, and the verismo style[edit]

Today, Puccini is by far the most-performed composer among his Italian contemporaries, and the same was true during his lifetime. One contemporary English author, writing in 1897 wrote "[Puccini] is undoubtedly the most fully equipped of the younger Italian composers, and his future career will be watched with some interest."[5] Italian opera composers of the generation with whom Puccini was compared included Pietro Mascagni (7 Dec. 1863 – 2 Aug. 1945), Ruggero Leoncavallo (b. Naples, 8 Mar. 1857; d. 9 Aug. 1919), Umberto Giordano (28 Aug. 1867 – 12 Nov. 1948), Francesco Cilea (23 July 1866 – 20 November 1950), Baron Pierantonio Tasca (1858-1934), Gaetano Coronaro (b. Vicenza, 18 Dec. 1852; d. Milan, 5 5 Apr. 1908).[5] By the time of his death in 1924, Puccini had earned $4 million from his works.[49]

Eleven of Puccini's operas numbered among the 200 most-performed operas between August 2008 and December 2011 (worldwide, by composers of any nationality, as surveyed by Operabase).[50] Only three composers, and three works, by Italian contemporaries of Puccini appear on this list: Cavalleria rusticana by Mascagni, Pagliacci by Ruggero Leoncavallo, and Andrea Chenier by Umberto Giordano).

Puccini is frequently referred to as a "verismo" composer. Verismo is a style of Italian opera that began in 1890 with the first performance of Mascagni's Cavalleria rusticana, peaked in the early 1900s, and lingered into the 1920s.[51] The style is distinguished by realistic – sometimes sordid or violent – depictions of everyday life, especially the life of the contemporary lower classes. It by and large rejects the historical or mythical subjects associated with Romanticism. Cavalleria rusticana, Pagliacci, and Andrea Chenier are uniformly considered to be verismo operas—they represent the primary verismo works in performance today other than those written by Puccini.

Puccini's career as a composer is almost entirely coincident in time with the verismo movement. Only his Le villi and Edgar preceded Cavalleria rusticana. At least two of Puccini's operas, Tosca and Il tabarro, are generally considered to be verismo operas.[52] While some view Puccini as essentially a verismo composer,[53] others, although acknowledging that he took part in the movement to some degree, do not view him as a "pure" verismo composer.[54] In addition, critics differ as to the degree to which particular operas by Puccini are, or are not, properly described as verismo operas. For example, Puccini scholar Mosco Carner places only two of Puccini's operas other than Tosca and Il tabarro within the verismo school: Madama Butterfly, and La fanciulla del West.[55]

Style and critical reception[edit]

Grove Music Online comments that:

Puccini succeeded in mastering the orchestra as no other Italian had done before him, creating new forms by manipulating structures inherited from the great Italian tradition, loading them with bold harmonic progressions which had little or nothing to do with what was happening then in Italy, though they were in step with the work of French, Austrian and German colleagues.[56]

In his work on Puccini, Julian Budden describes Puccini as a gifted and original composer, noting the vibrant innovation hidden in the popularity of works such as "Che gelida manina". He describes the aria in musical terms (the signature embedded in the harmony for example), and points out that its structure was rather unheard of at the time, having three distinct musical paragraphs that nonetheless form a complete and coherent whole. This gumption in musical experimentation was the essence of Puccini's style, as evidenced in his diverse settings and use of the motif to express ideas beyond those in the story and text.[citation needed]

While Puccini's music has remained extremely popular with opera audiences, Puccini has consistently been the target of condescension by some music critics who find his music insufficiently sophisticated or difficult. Some have explicitly condemned his efforts to please his audience, such as this contemporary Italian critic:

He willingly stops himself at minor genius, stroking the taste of the public ... obstinately shunning too-daring innovation ... A little heroism, but not taken to great heights; a little bit of veristic comedy, but brief; a lot of sentiment and romantic idyll: this is the recipe in which he finds happiness. ([E]gli si arresta volentieri alla piccola genialità, accarezzando il gusto del pubblico ... rifuggendo ostinato dalle troppo ardite innovazioni. ... Un po' di eroismo, ma non spinto a grandi altezze, un po' di commedia verista, ma breve; molto idillio sentimentale e romantico: ecco la ricetta in cui egli compiace.)[57]

Budden attempted to explain the paradox of Puccini's immense popular success and technical mastery on the one hand, and the relative disregard in which his work has been held by academics:

No composer communicates more directly with an audience than Puccini. Indeed, for many years he has remained a victim of his own popularity; hence the resistance to his music in academic circles. Be it remembered, however, that Verdi's melodies were once dismissed as barrel-organ fodder. The truth is that music that appeals immediately to a public becomes subject to bad imitation, which can cast a murky shadow over the original. So long as counterfeit Puccinian melody dominated the world of sentimental operetta, many found it difficult to come to terms with the genuine article. Now that the current coin of light music has changed, the composer admired by Schoenberg, Ravel, and Stravinsky can be seen to emerge in his full stature.[12]

Works[edit]

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From Manon Lescaut, act 1. Sung by Enrico Caruso in 1913.

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From La bohème, act 1. Sung by Enrico Caruso and Nellie Melba in 1906.

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From Gianni Schicchi, sung by Frances Alda in 1919

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Puccini wrote orchestral pieces, sacred music, chamber music and songs for voice and piano, most notably his 1880 mass Messa di gloria and his 1890 string quartet Crisantemi. However, he is primarily known for his operas:

Centres for Puccini Studies[edit]

Founded in 1996 in Lucca, the Centro Studi Giacomo Puccini embraces a wide range of approaches to the study of Puccini's work. In the USA, the American Center for Puccini Studies specializes in the presentation of unusual performing editions of composer's works and introduces neglected or unknown Puccini pieces. It was founded in 2004 by the singer and director Harry Dunstan.

References[edit]

Notes

  1. ^ The website Operabase.com in its section on opera statistics 2007–2012 ranks Puccini, with 2294 performances of 13 operas, in third place behind Verdi (3020 performances of 29 operas) and Mozart (2410 performances of 22 operas). Three of Puccini's operas were in the top 10 performed: La bohème (2nd place), Tosca (5th place) and Madama Butterfly (7th place).
  2. ^ Although Puccini himself correctly titled the work a Messa, referring to a setting of the Ordinary of the Catholic Mass, today the work is popularly known as his Messa di Gloria, a name that technically refers to a setting of only the first two prayers of the Ordinary, the Kyrie and the Gloria, while omitting the Credo, the Sanctus, and the Agnus Dei.

References

  1. ^ Ravenni and Girardi, n.d., Introduction
  2. ^ a b c d e f g h i j k l m n o p q r s Dry, Wakeling (1905). Giacomo Puccini. London & New York: John Lane. 
  3. ^ a b c "Cattedrale di S. Martino". Centro di Studi Giacomo Puccini. Retrieved 3 November 2012. 
  4. ^ a b c Gervasoni, Carlo (1812). Nuova teoria di musica ricavata dall'odierna pratica. Milano: Blanchon. pp. 240–241. 
  5. ^ a b c d e Streatfield, Richard Alexander (1895). Masters of Italian music. C. Scribner's Sons. p. 269. 
  6. ^ a b c d e f g h i j k l Girardi, Michele (2000). Puccini:His International Art. Chicago: University of Chicago Press. 
  7. ^ Carner (1959) p. 49
  8. ^ Carner, Puccini: A Critical Biography
  9. ^ a b c "Arte e Scienze". La Stampa. 2 February 1893. 
  10. ^ a b c d e f g h i Phillips-Matz
  11. ^ Stanley Sadie, Laura Macy, ed. (2006). The Grove Book of Operas (2nd ed.). Oxford University Press. 
  12. ^ a b Budden, Julian (2002). Puccini: His Life and Works. New York: Oxford University Press. p. 107. 
  13. ^ Budden p. 494
  14. ^ La bohème performance history at amadeusonline.net
  15. ^ a b c d Eugenio Checchi (December 1897). Francisco Protonotari, ed. Nuova Antologia (in Italian). Direzione della Nuova Antologia. pp. 470–481. 
  16. ^ Phillips-Matz, pp. 106–107
  17. ^ "La prima della Tosca del M. Puccini al Teatro Regio". La Stampa (in Italian). 21 February 1900. 
  18. ^ "Una disgrazia automobilistica al maestro Puccini". La Stampa. 27 February 1903. 
  19. ^ Phillips-Matz (2002) p. 123
  20. ^ Version 1 (Milan, 1904). (403 pp) © 1904 G. Ricordi & C.: Milano – Roma – Napoli – Palermo – Parigi – Londra – Lipsia. New York: Boosey & Co. Buenos Aires: Breyer Hermanos. This version was withdrawn after the opening night. See Version History
  21. ^ Phillips-Matz (2002) p. 146
  22. ^ Version 5, the "Standard Version". (266 pp) 1907 G. Ricordi & C.: New York – Milan – Rome – Naples – Palermo – London – Paris – Leipsig – Buenos Ayres – S. Paulo. See Version History
  23. ^ Davis, Peter (20 January 1997). "Selling Old Scores". New York Magazine 30 (2). 
  24. ^ Smith, p. 544
  25. ^ Randall & Davis, p. 42
  26. ^ "New York Acclaims Puccini's New Opera". Theatre Magazine 13 (119). January 1911. 
  27. ^ "The Stage". Munsey's Magazine. 44 p.6. 1911. 
  28. ^ Eaton, W.P. (March 1911). "Where We Stand in Opera". American Magazine 71 (5). 
  29. ^ Hampton's Magazine 26 (3). March 1911.  ("In Puccini's 'Girl of the Golden West' we get a highly amusing operatic picture of what did not take place in California in '49")
  30. ^ Siff, Ira (July 2012). "Puccini: La Fanciulla del West". Opera News 77 (1). 
  31. ^ Osborne, Charles (1982). The complete operas of Puccini: a critical guide. De Capo Press. p. 195. 
  32. ^ Sadie, Stanley; Laura Williams Macy. The Grove book of operas. 
  33. ^ Phillips-Matz (2002) p. 245
  34. ^ Gavin Plumley, "Puccini's Bittersweet Operetta", San Francisco Opera program, Nov/Dec 2007, pp.30/31
  35. ^ Davis, Peter G. (3 Sep 1984). "Puccini Mit Schlag". New York Magazine 17 (35). 
  36. ^ William Ashbrook; Harold Powers (1991). Puccini's Turandot: the end of the great tradition. Princeton University Press. p. 43. ISBN 978-0-691-02712-8. Retrieved 17 March 2011. 
  37. ^ Phillips-Matz, passim
  38. ^ Villante, Luigi Alberto (11 February 1905). "I progetti di Giacomo Puccini". La Stampa (in Italian) 39 (42). 
  39. ^ a b Mourby, Adriano (6 July 2008). "Scandalissimo! Puccini's sex life exposed". The Independent. Retrieved 23 August 2012. 
  40. ^ Espinoza, Javier (29 September 2007). "Revealed: the identity of Puccini's secret lover". The Guardian (UK). Retrieved 23 August 2012. 
  41. ^ "Interview: San Francisco Opera's Music Director Designate Nicola Luisotti on Covent Garden's Turandot and his plans for his new company". Retrieved 25 August 2012. 
  42. ^ "Two films by acclaimed and controversial filmmaker Tony Palmer". Naxos. 26 June 2008. Retrieved 25 August 2012. 
  43. ^ Weaver, p. 375
  44. ^ Fairtile, Linda Beard (1999). Giacomo Puccini: A Guide to Research. Psychology Press. ISBN 0-8153-2033-7. 
  45. ^ Weaver, p. 301
  46. ^ Puccini biography prepared by San Francisco Opera Company
  47. ^ Wilson (2007), 192
  48. ^ Pugliese, Stanislao G. (2004). Fascism, Anti-Fascism, and the Resistance in Italy: 1919 To the Present. Lanham, MD: Rowman & Littlefield Publishers. ISBN 0-7425-3122-8. "Mussolini's speech before the Chamber of Deputies on 3 January 1925 is universally recognized as the beginning of the full fascist dictatorship. Previously, Mussolini had tried to maintain a facade of parliamentary, representative government." 
  49. ^ Life Magazine 45 (23). 8 December 1958. 
  50. ^ "Stattistics". Operas, select "top=200" and "*World": Operabase. Retrieved 18 November 2012. 
  51. ^ "Verismo" in Stanley Sadie (ed.) The New Grove Dictionary of Music & Musicians, London: Macmillan/New York: Grove, 1980, vol 19 p.670, ISBN 1-56159-174-2
  52. ^ Fisher, edited by Burton D. (2003). Puccini's IL TRITTICO. Miami: Opera Journeys Pub. ISBN 0-9771455-6-5. 
  53. ^ Montgomery, Alan (2006). Opera Coaching: Professional Techniques And Considerations. New York: Routledge Taylor and Francis Group. ISBN 9780415976015. 
  54. ^ Berger, William (2005). Puccini Without Excuses: A Refreshing Reassessment of the World's Most Popular Composer. Random House Digital. p. 7. ISBN 1-4000-7778-8. 
  55. ^ Carner, Mosco (1985). Giacomo Puccini, Tosca (Reprinted ed.). Cambridge [Cambridgeshire]: Cambridge University Press. p. 6. ISBN 0-521-22824-7. 
  56. ^ Ravenni and Girardi, #11 Assessment
  57. ^ "Puccini, Franchetti, Leoncavallo". La Stampa. August 8, 1903. 

Sources

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