COMPOSER: Giacomo Puccini

Total Page:16

File Type:pdf, Size:1020Kb

COMPOSER: Giacomo Puccini COMPOSER: Giacomo Puccini HOW TO SAY THE NAME: ‘Puccini’ is said like Poo-chee-knee. ‘Giacomo’ is said like ‘Jee-ah-ko-mo’. BORN: December 22, 1858 – Lucca Italy DIED: November 29, 1924 – Brussels, Belgium (Diagnosed with throat cancer and died of a heart attack) BURIED: A specially built chapel in the grounds of his estate in Torre del Lago, Toscana, Italy. FULL NAME: Giacomo Antonio Domenico Michele Secondo Maria Puccini SPOUSE: Elvira Gemignani CHILDREN: Antonio Puccini FAMILY INFO: ▪ Five generations of his family were musicians and church organists. ▪ His father died when he was 6 years old and his uncle ensured that he continued his music studies. ▪ Puccini he became a choirboy at San Martino and San Michele and at the age of 14 he began to play organ for the convent church - his wages helped to support his family MOST POPULAR COMPOSITIONS (all operas): Madame Butterfly La bohème Tosca Turandot SOME INTERESTING FACTS: ▪ His music is very popular, especially in Italy. ▪ He was a leading composer during the Romantic Period. ▪ His music is full of long and beautiful tunes. ▪ Gianni Schicchi is different from all his other operas—it’s a comedy! ▪ His last opera, Turnadot, wasn’t finished when he died. It was finished instead by Franco Alfano. ▪ He died very rich. ▪ In 1903 Puccini was involve in a car accident and was seriously injured. The car was driven by his chauffeur and his wife, Elvira and their son, Antonio were also in the car when it off the road and flipped over. Both mother and child were spared any serious injury receiving only minor scrapes and bruises. .
Recommended publications
  • Composers Mascagni and Leoncavallo Biography
    Cavalleria Rusticana Composer Biography: Pietro Mascagni Mascagni was an Italian composer born in Livorno on December 7, 1863. His father was a baker and dreamed of a career as a lawyer for his son, but following the good reception obtained by Mascagni’s first compositions was persuaded to allow him to study music at the Milan Conservatoire, where his teachers included Amilcare Ponchielli and Michele Saladino, and where he shared a furnished room with his fellow-student Giacomo Puccini. His first compositions won him financial support to study at the Milan Conservatory. He was of a rebellious nature and intolerant of discipline, and in 1885 he left the Conservatoire to join a modest operetta company as conductor. He became part of the Compagnia Maresca and, together with his future wife, Lina Carbognani, settled in Cerignola (Apulia) in 1886, where he formed a symphony orchestra. Here Mascagni composed at a single stroke, in only two months, the one-act opera Cavalleria rusticana, based on the short story by Verga, which was to win him the first prize in the Second Sonzogno Competition for new operas. The innovative strength of the opera and the resounding worldwide success which followed its first performance (1890, Teatro Costanzi, Rome) marked the beginning of an artistic life rich in achievements and satisfactions, both as composer and as conductor. He became increasingly prominent as a conductor and in 1892 conducted his opera I Rantzau around Europe. Further successes included Amica (1905) and Isabeau (1911), alongside such failures as Le maschere (1901). In 1915 he experimented with writing for cinema in Rapsodia satanicawith Nino Oxilia.
    [Show full text]
  • Giacomo Puccini Krassimira Stoyanova
    Giacomo Puccini Complete Songs for Soprano and Piano Krassimira Stoyanova Maria Prinz, Piano Giacomo Puccini (1858-1924) 5 Ave Maria Leopolda (Giacomo Puccini) Conservatory. It is introduced by solemn organ harmonies (Milan, 20 May 1896) with strong treble line. The melody is shaped by slow Songs This short song is a setting of one of the composer’s letters lingering inflections of considerable emotional intensity. The Giacomo (Antonio Domenico Michele Seconda Maria) Gramophone Company (Italy) Ltd. The tone of this song, to the conductor Leopoldo Mugnone (who conducted hymn moves on to a more questioning phase, and concludes Puccini (1858-1924) was born into a family with long musical by the famous librettist Illica, a man of exuberant and violent Manon Lescaut and La Bohème in Palermo). It is a jocular with a smooth organ postlude. The tune was used by the traditions. He studied with the violinist Antonio Bazzini passions, celebrates the positivism of the late 19th century. salutation, offering greetings to his spouse Maria Leopolda, composer in his first opera Le Villi (1883) as the orchestral (1818-1897) and the opera composer Amilcare Ponchielli The text reflects that, although life is transient, we sense the from the dark Elvira (Bonturi, Puccini’s wife) and the blonde introduction to No. 5 and the following prayer Angiol di Dio. (1834-1886), and began his career writing church music. existence of an ideal that transcends it, conquering oblivion Foschinetta (Germignani, Puccini’s stepdaughter), who He is famous for his series of bold and impassioned operas and death. The musical setting is confident and aspirational, send kisses and flowers.
    [Show full text]
  • Operas Performed in New York City in 2013 (Compiled by Mark Schubin)
    Operas Performed in New York City in 2013 (compiled by Mark Schubin) What is not included in this list: There are three obvious categories: anything not performed in 2013, anything not within the confines of New York City, and anything not involving singing. Empire Opera was supposed to perform Montemezzi’s L'amore dei tre re in November; it was postponed to January, so it’s not on the list. Similarly, even though Bard, Caramoor, and Peak Performances provide bus service from midtown Manhattan to their operas, even though the New York City press treats the excellent but four-hours-away-by-car Glimmerglass Festival like a local company, and even though it’s faster to get from midtown Manhattan to some performances on Long Island or in New Jersey or Westchester than to, say, Queens College, those out-of-city productions are not included on the main list (just for reference, I put Bard, Caramoor, and Peak Performances in an appendix). And, although the Parterre Box New York Opera Calendar (which includes some non-opera events) listed A Rite, a music-theatrical dance piece performed at the BAM Opera House, I didn’t because no performer in it sang. I did not include anything that wasn’t a local in-person performance. The cinema transmissions from the Met, Covent Garden, La Scala, etc., are not included (nor is the movie Metallica: Through the Never, which Owen Gleiberman in Entertainment Weekly called a “grand 3-D opera”). I did not include anything that wasn’t open to the public, so the Met’s workshop of Scott Wheeler’s The Sorrows of Frederick is not on the list.
    [Show full text]
  • La-Boheme-Extract.Pdf
    OVERTURE OPERA GUIDES in association with We are delighted to have the opportunity to work with Overture Publishing on this series of opera guides and to build on the work English National Opera did over twenty years ago with the Calder Opera Guide Series. As well as reworking and updating existing titles, Overture and ENO have commissioned new titles for the series and all of the guides will be published to coincide with the repertory being staged by the company. We hope that these guides will prove an invaluable resource now and for years to come, and that by delving deeper into the history of an opera, the libretto and the nuances of the score, readers’ understanding and appreciation of the opera and the art form in general will be enhanced. Daniel Kramer Artistic Director, ENO The publisher John Calder began the Opera Guides series under the editorship of the late Nicholas John in associa- tion with English National Opera in 1980. It ran until 1994 and eventually included forty-eight titles, covering fifty-eight operas. The books in the series were intended to be companions to the works that make up the core of the operatic repertory. They contained articles, illustrations, musical examples and a complete libretto and singing translation of each opera in the series, as well as bibliographies and discographies. The aim of the present relaunched series is to make available again the guides already published in a redesigned format with new illustrations, revised and newly commissioned articles, up- dated reference sections and a literal translation of the libretto that will enable the reader to get closer to the meaning of the original.
    [Show full text]
  • Marshall University Music Department Presents a Graduate Recital, Featuring, Briana D
    Marshall University Marshall Digital Scholar All Performances Performance Collection 2-8-2014 Marshall University Music Department Presents a Graduate Recital, featuring, Briana D. Blankenship, trumpet Briana D. Blankenship Marshall University Follow this and additional works at: http://mds.marshall.edu/music_perf Part of the Fine Arts Commons, and the Music Performance Commons Recommended Citation Blankenship, Briana D., "Marshall University Music Department Presents a Graduate Recital, featuring, Briana D. Blankenship, trumpet" (2014). All Performances. Book 225. http://mds.marshall.edu/music_perf/225 This Recital is brought to you for free and open access by the Performance Collection at Marshall Digital Scholar. It has been accepted for inclusion in All Performances by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected]. School of Music & Theatre Program Concerto in D, TWV 51 :D7 Georg Philipp Telemann II. Allegro (1681-1767) MUSIC III. Grave arr. Michel Rondeau IV. Allegro presents a Molly Page and Angela Scoulas, violin Graduate Recital Concerto in E flat Major, S.49 Johann N epomuk Hummel I. Allegro con Spirito (1778-1837) II. Andante featuring III. Rondo Briana D. Blankenship, trumpet Intermission in collaboration with Nessun dormafrom Turandot Giacomo Puccini Dr. Henning Vauth, piano (1858-1924) Sonata for Trumpet and Piano Eric Ewazen I. Lento (b. 1954) II. Allegretto III. Allegro con Fuoco Saturday, February 8, 2014 Smith Recital Hall 3:00p.m. This recital is presented in partial fulfillment of the requirements for a This program is pr~sent~d by the College of Arts and Media through the Master of Arts degree in trumpet performance.
    [Show full text]
  • The Silent Maestro. Giacomo Puccini and the Allgemeines Handbuch Der Film-Musik
    The silent maestro. Giacomo Puccini and the Allgemeines Handbuch der Film-Musik. Marco Bellano (Padova) The film music practice of the silent era of cinema (1895–1927) was characterized by live performances of musicians during film screenings. As a result, every single film had a number of different scores, as the pieces of music were usually not original creations inspired by the film they accompanied, but a selection of fragments chosen from the ›classical‹ and ›popular‹ repertoires, or even improvisations inspired by the images appearing on the screen. This kind of practice, a true ›tradition of innovation‹, was sometimes pointed out by early cinema detractors as an evidence of motion pictures being »a parasite feeding upon the arts of the theatre« (Belasco 1919, 205). Contemporary studies in film history, on the other hand, fully acknowledge the importance of pre-existing compositions in shaping the aesthetic of film music. For this reason, the so-called ›repertoires‹ or music catalogues, which were intended to help cinema musicians select the most appropriate score for a particular film sequence, are regarded today as important sources for the development and strategies of musical choices in the cinema of that period. Those musical selections offer information on the musical and audiovisual preferences in silent cinema's practice. The presence of a specific composition, and the absence of another one, can be understood as symptomatic of what was desirable or not during silent film screenings, in terms of musical form and genre, emotional emphasis or recognizable references to different kinds of entertainment. Kieler Beiträge zur Filmmusikforschung, 11, 2014 // 106 The importance of such repertoires as documents shall be empirically tested by studying the presence of a single composer’s creations in one of the most complete and complex catalogues of music for silent films: the Allgemeines Handbuch der Film-Musik (1927) by Giuseppe Becce, Hans Erdmann and Ludwig Brav.
    [Show full text]
  • Scholarly Program Notes on the Graduate Vocal Recital of Zhang Lu Zhang Lu [email protected]
    Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School Fall 2016 Scholarly Program Notes on the Graduate Vocal Recital of Zhang Lu Zhang Lu [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp Recommended Citation Lu, Zhang. "Scholarly Program Notes on the Graduate Vocal Recital of Zhang Lu." (Fall 2016). This Article is brought to you for free and open access by the Graduate School at OpenSIUC. It has been accepted for inclusion in Research Papers by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. SCHOLARLY PROGRAM NOTES ON THE GRADUATE VOCAL RECITAL OF ZHANG LU By Zhang Lu B. A., Wuhan College of Media and Communications, 2012 A Research Paper Submitted in Partial Fulfillment of the Requirements for the Master of Music Department of Music In the Graduate School Southern Illinois University Carbondale December 2016 RESEARCH PAPER APPROVAL SCHOLARLY PROGRAM NOTES ON THE GRADUATE VOCAL RECITAL OF ZHANG LU By Zhang Lu A Research Paper Submitted in Partial Fulfillment of the Requirements For the Degree of Master of Music In the field of Vocal Performance Approved by: Dr. Diane Coloton, Chair Dr. David Dillard Dr. Susan Davenport Graduate School Southern Illinois University Carbondale November 9, 2016 AN ABSTRACT OF THE RESEARCH PAPER OF ZHANG LU, for the Master of Music degree in VOCAL PERFORMANCE, presented on November 9, 2016, at Southern Illinois University Carbondale. TITLE: SCHOLARLY PROGRAM NOTES ON THE GRADUATE VOCAL RECITAL OF ZHANG LU MAJOR PROFESSOR: Dr. Diane Coloton This document presents scholarly program notes on the Graduate Recital of Master of Music in Vocal Performance candidate Zhang Lu.
    [Show full text]
  • Introduction to Music Mu1001 Review Sheet #2
    Introduction to Music Mu1001 Review Sheet #2 Review the following terms and concepts for the test on April 18. Please remember you are responsible for all the information in the assigned text as well as the accompanying CD’s. Rococo Mannheim Crescendo Style galant Mannheim Rocket French Rococo composers Movements of a Symphony François Couperin Franz Joseph Haydn Jean-Philippe Rameau “London” Symphonies Empfindsankeit Style of Haydn’s Music C. P. E. Bach Ludwig Van Beethoven Opera Buffa Modified patronage system Opera Seria Periods of Beethoven’s music Singspiel The “Eroica” Symphony Intermezzo Napoleon Bonaparte Theme Friedrich von Schiller movement Motive and Motivic development Thematic development Classical Concerto Absolute Music Cadenza Sonata-allegro form Ritornello Exposition Classical Sonata Development Classical Opera Recapitulation “Trouser roll” Coda Common Traits of Romanticism Theme and variations Romanticism in Music Minuet and Trio Exoticism Scherzo Romantic Style Characteristics Rondo Musicians in the Romantic period Classical ideas Musicians as educators Classicalism vs. Romanticism 19th-Century song structures Patronage during the Classical Era Strophic form The Esterhazys Through-composed form Viennese School Modified strophic form Main Elements of the Classical Style The Lied Classical musical genres Song Cycle Chamber Music Johann Wolgang von Goethe String Quartet Heinrich Heine Divertimentos and Serenades Franz Schubert Wolfgang Amadeus Mozart Erlkönig Lorenzo Da Ponte Robert Schumann “Requiem” Die neue Zeitschrift
    [Show full text]
  • Educator's Guide Manon Lescaut
    Educator’s Guide Photo: Ken Howard/Metropolitan Opera Manon Lescaut February 16, 2008 3311631163 1 22/28/07/28/07 66:20:52:20:52 AAMM 2 3311631163 2 22/28/07/28/07 66:20:58:20:58 AAMM Manon Lescaut– THE WORK For Love or Money MANON LESCAUT Composed by Giacomo Puccini Passion. Betrayal. Unconditional love. No other art form can Libretto after a novel by Abbé Prévost convey these elemental human experiences as powerfully as First performed 1893 in Turin, Italy opera—and these are the hallmarks of Puccini’s Manon Lescaut. ough set in 18th-century France, the tale of Manon and her lover des Grieux is utterly contemporary. e Metropolitan Opera’s production of Manon Lescaut sweeps THE MET PRODUCTION its audience into a maelstrom of emotion. But Manon Lescaut is James Levine, Conductor no mere melodrama. Puccini provides an opportunity to observe Gina Lapinski, Director closely the life path of a single individual—the ways in which she Starring: changes, learns and grows by means of the choices she makes. No Karita Mattila (Manon Lescaut) topic could be more relevant to an audience of young people. is guide off ers a variety of experiences designed not only Marcello Giordani (des Grieux) to enrich enjoyment of the Live in HD transmission of Manon Dwayne Croft (Lescaut) Lescaut, but also to help young people engage with the opera’s Dale Travis (Geronte) eternal themes and appreciate how the composer enables the artists of the Met to bring them gloriously to life. FUN FACT: Giacomo Puccini fi rst traveled to the United States at age 48, in 1907—for the Metropolitan Opera premiere of Manon Lescaut.
    [Show full text]
  • Carpenter Performing Arts Center Johannes Muller-Stosch, Music Director with Dr. William Weber, Guest Speaker Friday, October 21
    COLE CONSERVATORY SYMPHONY ORCHESTRA JOHANNES MULLER-STOSCH, MUSIC DIRECTOR WITH DR. WILLIAM WEBER, GUEST SPEAKER “ON THE GREAT TRANSFORMATION OF MUSICAL TASTE” FRIDAY, OCTOBER 21, 2011 // 8:00PM CARPENTER PERFORMING ARTS CENTER PLEASE SILENCE ALL ELECTRONIC MOBILE DEVICES. PROGRAM Trumpet Concerto in E-flat major (1804) ......................................................................................................... Johann Nepomuk Hummel Allegro con spirito (1778–1837) Andante Rondo Robert Frear—trumpet “Là ci darem la mano” from Don Giovanni, K. 527 (1787) ............................................. Wolfgang Amadeus Mozart (1756–1791) Nicola Said—soprano & Anthony Moreno—baritone Marcia funèbre from Symphony No. 7 in A Major, Op. 92 (1812) ................................... Ludwig van Beethoven (1770–1827) “Song to the Moon” from Rusalka (1901) .................................................................................................................................................... Antonín Dvořák (1841–1904) Melinda Ehrlich—soprano On the Great Transformation of Musical Taste Dr. William Weber—guest speaker Allegro scherzando from Piano Concerto No. 2 ............................................................................................................. Camille Saint-Saëns (1835–1921) Elizabeth Weed—piano, Brandon Faber—graduate conductor INTERMISSION * The Chairman Dances: Foxtrot for Orchestra (1985; 1987) ....................................................................................................................
    [Show full text]
  • A Cognitive Approach to Medieval Mode
    Phenomena, Poiēsis, and Performance Profiling: Temporal-Textual Emphasis and Creative Process Analysis in Turandot at the Metropolitan Opera JOSHUA NEUMANN [1] University of Florida ABSTRACT: Amidst discussions regarding the nature of a musical work, tensions within and between score- and performance-based approaches often increase ideological entrenchment. Opera’s textual and visual elements, along with its inherently social nature, both simultaneously complicate understanding of a work’s nature and provide interdisciplinary analytical inroads. Analysis of operatic performance faces challenges of how to interrogate onstage musical behaviors, and how they relate to both dramatic narrative and an opera’s identity. This article applies Martin Heidegger’s dichotomy of technē and poiēsis to relationships between scores, performances, and works, characterizing works as conceptual, and scores and performances as tangible embodiments. Opera scholarship relies primarily upon scores, creating a lacuna of sound-based examinations. Adapting analyses developed in CHARM’s “Mazurka Project,” this essay incorporates textual considerations into tempo hierarchy as a means of asserting each performance’s nuanced uniqueness and thus provides a window into performers’ creative processes. Interviews with the performers considered in this study confirmed postulations derived from analyzing temporal-textual emphases. This approach is adaptable to other expressive elements employed in creating a role onstage. In addition to the hybrid empirical-hermeneutic application,
    [Show full text]
  • Giacomo Puccini from Wikipedia, the Free Encyclopedia
    Giacomo Puccini From Wikipedia, the free encyclopedia Giacomo Puccini Giacomo Antonio Domenico Michele Secondo Maria Puccini ( 22 December 1858 – 29 November 1924) was an Italian composer whose operas are among the important operas played as standards. Puccini has been called "the greatest composer of Italian opera after Verdi". 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 Puccini was born Giacomo Antonio Domenico Michele Secondo Maria Puccini in Lucca in Tuscany, in 1858. He was one of nine 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).This first Giacomo Puccini was maestro di cappella of the Cattedrale di San Martino in Lucca. He was succeeded in this position by his son, Antonio Puccini, and then by Antonio's son Domenico, and Domenico's son Michele (father of the subject of this article). Each of these men studied music at Bologna, and some took additional musical studies elsewhere. Domenico Puccini studied for a time under Giovanni Paisiello. Each composed music for the church. In addition, Domenico composed several operas, and Michele composed one opera. 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. 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.
    [Show full text]