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Set in the American West during the California Gold Rush, La fanciulla del West marked a significant departure from Giacomo Puccini's previous and best- known works. Puccini and the Girl is the first book to explore this important but often misunderstood opera that became the earliest work by a major European composer to receive an American premiere when it opened at New York's Metropolitan Opera House in 1910. Adapted from American playwright David Belasco's Broadway production, The Girl of the Golden West, Fanciulla was Puccini's most consciously modern work, and its Met debut received mixed reviews. Annie J. Randall and Rosalind Gray Davis base their account of its creation on previously unknown letters from Puccini to his main librettist, Carlo Zangarini. They mine musical materials, newspaper accounts, and rare photographs and illustrations to tell the full story of this controversial opera. Puccini and the Girl considers the production and reception of Puccini's "cowboy" opera in the light of contemporary criticism, providing both fascinating insight into its history and a look to the future as its centenary approaches. “Engrossing. . . . An eminently readable, ideally direct and information-packed book.”—William Fregosi, Opera Today
A comprehensive guide to Puccini's GIRL OF THE GOLDEN WEST, featuring insightful and in depth Commentary and Analysis, a complete, newly translated Libretto with Italian/English side-by side, and over 20 music highlight examples.
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.
A newly translated Libretto featuring foreign language/English side-by-side, and music examples interspersed throughout the text.
Julian Budden provides a look at the process of putting an opera together, the cut-and-slash of nineteenth-century Italian opera, -the struggle to find the right performers for the debut of La Boheme, Puccini's anxiety about completing Turandot (he in fact died of cancer before he did so), and his animosity toward his rival Leoncavallo (whom he called Leonasino or "lion-ass"). Budden provides an analysis of the operas themselves, examining the music act by act. He highlights, among other things, the influence of Wagner on Puccini--alone among his Italian contemporaries, Puccini followed Wagner's example in bringing the motif into the forefront of his narrative, sometimes voicing the singer's unexpressed thoughts, sometimes sending out a signal to the audience of which the character is unaware. And Budden also paints a portrait of Puccini the man--talented but modest, a man who had friends from every walk of life: shopkeepers, priests, wealthy landowners, fellow artists. --From publisher's description.
A newly translated Libretto featuring foreign language/English side-by-side, and music examples interspersed throughout the text.
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.
Giacomo Puccini (1858–1924) is the world's most frequently performed operatic composer, yet he is only beginning to receive serious scholarly attention. In Giacomo Puccini and His World, an international roster of music specialists, several writing on Puccini for the first time, offers a variety of new critical perspectives on the composer and his works. Containing discussions of all of Puccini’s operas from Manon Lescaut (1893) to Turandot (1926), this volume aims to move beyond clichés of the composer as a Romantic epigone and to resituate him at the heart of early twentieth-century musical modernity. This collection’s essays explore Puccini’s engagement with spoken theater and operetta, and with new technologies like photography and cinema. Other essays consider the philosophical problems raised by "realist" opera, discuss the composer’s place in a variety of cosmopolitan formations, and reevaluate Puccini’s orientalism and his complex interactions with the Italian fascist state. A rich array of primary source material, including previously unpublished letters and documents, provides vital information on Puccini’s interactions with singers, conductors, and stage directors, and on the early reception of the verismo movement. Excerpts from Fausto Torrefranca’s notorious Giacomo Puccini and International Opera, perhaps the most vicious diatribe ever directed against the composer, appear here in English for the first time. The contributors are Micaela Baranello, Leon Botstein, Alessandra Campana, Delia Casadei, Ben Earle, Elaine Fitz Gibbon, Walter Frisch, Michele Girardi, Arthur Groos, Steven Huebner, Ellen Lockhart, Christopher Morris, Arman Schwartz, Emanuele Senici, and Alexandra Wilson.