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Analytical guide, illustrated with musical examples.
Julian Budden, one of the world's foremost scholars of Italian opera, here offers music lovers a major biography of Giacomo Puccini--a volume in the esteemed Master Musicians series. Blending astute musical analysis with a colorful account of Puccini's life, Budden providess an illuminating look at some of the most popular operas in the repertoire, including Manon Lescaut, La Boheme, Tosca, Madama Butterfly, and Turandot. Budden also paints an intriguing portrait of Puccini the man--talented but modest, a man who had friends from every walk of life: shopkeepers, priests, wealthy landowners, fellow artists.
This masterful biography provides the most authentic and revealing portrait to date of this major operatic composer
Giacomo Puccini, composer of some of the world's most popular operas, including La Boheme, Tosca, and Madama Butterfly, was also a highly literary person who based his librettos on existing works of literature. This work explores that literary inheritance in an effort to enhance the listener's appreciation of the operatic experience. The author argues that the majority of Puccini's operas compose a grand cycle that finds its roots in the romance genre of 12th century France, serving to celebrate the strong, independent heroine. Via a close examination of the source works, the librettos, and the scores, this book offers fresh perspective on Puccini's legacy.
Puccini is the most beloved composer of opera in the world: one quarter of all opera performances in the U.S. are of his operas, his music pervades movie soundtracks, and his plots have infiltrated our popular culture. But, although Puccini’s art still captivates audiences and the popularity of such works as Tosca, La Bohéme, and Madama Butterfly has never waned, he has long been a victim of critical snobbery and cultural marginalization. In this witty and informative guide for beginners and fans alike, William Berger sets the record straight, reclaiming Puccini as a serious artist. Combining his trademark irreverent humor with passionate enthusiasm, Berger strikes just the right balance of introductory information and thought-provoking analysis. He includes a biography, discussions of each opera, a glossary, fun facts and anecdotes, and above all keen insight into Puccini’s enduring power. For anyone who loves Puccini and for anyone who just wonders what all the fuss is about, Puccini Without Excuses is funny, challenging, and always a pleasure to read. INCLUDES: • Why Puccini’s art and its message of hope is crucial to our world today • How Anglo audiences often miss the mythic significance of his operas • The use of his music as shorthand in films, from A Room with a View to Fatal Attraction • A scene-by scene analysis of each opera • A guide to the wealth of available recordings, books, and videos
Unfinished at Puccini's death in 1924, Turandot was not only his most ambitious work, but it became the last Italian opera to enter the international repertory. In this colorful study two renowned music scholars demonstrate that this work, despite the modern climate in which it was written, was a fitting finale for the centuries-old Great Tradition of Italian opera. Here they provide concrete instances of how a listener might encounter the dramatic and musical structures of Turandot in light of the Italian melodramma, and firmly establish Puccini's last work within the tradition of Rossini, Bellini, Donizetti, and Verdi. In a summary of the sounds, sights, and symbolism of Turandot, the authors touch on earlier treatments of the subject, outline the conception, birth, and reception of the work, and analyze its coordinated dramatic and musical design. Showing how the evolution of the libretto documents Puccini's reversion to large musical forms typical of the Great Tradition in the late nineteenth century, they give particular attention to his use of contrasting Romantic, modernist, and two kinds of orientalist coloration in the general musical structure. They suggest that Puccini's inability to complete the opera resulted mainly from inadequate dramatic buildup for Turandot's last-minute change of heart combined with an overly successful treatment of the secondary character.
Tosca, one of Puccini's greatest and most popular operas, is a supreme example of music's power to enthral the audience. In his introductory essay to this guide, Bernard Williams discusses the enduring quality of its appeal. Bernard Keeffe, in his article, analyses different aspects of the score, noting Puccini's special genius for orchestration and the subtle effects that give the opera its irresistible vitality, while Stuart Woolf's survey of the historical background reveals its political and nationalistic undertones.Enriched by twenty-five archive photographs, a detailed thematic analysis, the original libretto with the facing literal translation and a section containing up-to-date discographical and bibliographical information, this guide will prove an invaluable companion for opera-goers and anyone wanting to delve deeper into the genesis, history and significance of Puccini's work.Contains:Manifest Artifice, Bernard WilliamsThe Music of Puccini's Tosca, Bernard KeeffeHistorical Perspectives on Tosca, Stuart WoolfTosca: Libretto by Giuseppe Giacosa and Luigi Illica after the play La Tosca by Victorien SardouTosca: English translation by EMI Classics
The performance history of each of Puccini's operas are reviewed and related to events in his life.
The Girl of the Golden West is a theatrical play written, produced and directed by David Belasco, set in the California Gold Rush. The four-act melodrama opened at the old Belasco Theatre in New York on November 14, 1905 and ran for 224 performances. Blanche Bates originated the role of The Girl, Robert C. Hilliard played Dick Johnson, and Frank Keenan played Jack Rance. Bates was joined by Charles Millward and Cuyler Hastings for two-week Broadway runs in 1907 and 1908.[1] William Furst composed the play's incidental music. The play toured throughout the US for several years.
Music excerpts are presented to show Mozart's use of tonal quality, voice interaction, and mood and melody changes in his five greatest operas