DOCSLIB.ORG

Giacomo Puccini's Gianni Schicchi: Reinventing Dante for Social Criticism

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Giacomo Puccini's Gianni Schicchi: Reinventing Dante for Social Criticism Giacomo Puccini’s Gianni Schicchi: Reinventing Dante for Social Criticism Michiko Hara Italian Studies Department of Languages, Literatures and Cultures McGill University December 2017 Thesis submitted to McGill University in partial fulfillment of the degree of Master of Arts © Michiko Hara 2017 1 TABLE OF CONTENTS ABSTRACT – RÉSUMÉ ………………………………………………………….. ii ACKNOWLEDGMENTS …………………………………………………………. vi INTRODUCTION ………………………………………………………………... 1 1. Historical Context ……………………………………………………………... 5 1.1. Puccini’s Youth ………………………………………………………….. 5 1.2. The Private Life as a Maestro ………………………………………….. 8 1.3. Puccini in the Italian Context …………………………………………... 10 1.4. Puccini, Dante and Italianità …………………………………………… 12 1.5 Puccini’s Political Ideology ……………………………………………... 20 1.5.1. Puccini’s Nationalism …………………………………………… 20 1.5.2. Puccini and Fascism …………………………………………….. 23 2. Gianni Schicchi and Its Enigma ……………………………………………… 27 2.1. From Dante to Puccini ………………………………………………….. 27 2.1.1. Dante’s Gianni Schicchi: A Brief Excursus …………………… 29 2.1.2 The Genesis of Puccini’s Gianni Schicchi ……………………… 35 2.2 Musicality in Gianni Schicchi …………………………………………... 38 2.3. Gianni Schicchi: Epitome of Florentine Society ………………………. 41 2.4. Departures from Dante …………………………………………………. 51 2.5. The Reception of Gianni Schicchi ……………………………………… 55 3. Puccini’s Personal Voice ………………………………………………………. 58 3.1. Gianni Schicchi as an Integral Part of Il Trittico ……………………… 58 3.2. Gianni Schicchi in the Context of Puccini’s Oeuvre …………………... 61 3.3. Puccini’s Authorship ……………………………………………………. 65 CONCLUSION …………………………………………………………………… 69 BIBLIOGRAPHY ………………………………………………………………… 75 i ABSTRACT Giacomo Puccini’s Gianni Schicchi, a one-act opera forming part of his trilogy called Il Trittico, received its world premiere in New York on December 14, 1918. Schicchi is a character that Dante Alighieri, approximately six hundred years earlier, condemned to Hell in his Commedia, more precisely in Canto XXX of the Inferno, for having impersonated the deceased Buoso Donati and successfully falsified the latter’s will. Surprisingly, Puccini’s Gianni Schicchi is a comedy with a happy ending and the impersonator Schicchi, one of Dante’s worst sinners, becomes a hero. Why did Puccini, known to be a cosmopolitan xenophile, choose Dante at this particular time? In fact, it is Puccini’s only opera based on an Italian source and the only opera buffa or comedy in his entire oeuvre. Moreover, if Dante was indeed the inspiration for his Gianni Schicchi, why did Puccini not respect the quintessence of Inferno XXX? Unfortunately, scholarly works that directly address these issues are scarce. With a view to finding answers to the aforementioned questions, the first chapter deals with the historical aspects from the biographical, social, political and artistic points of view. Then, the following chapter focuses on the theme of Gianni Schicchi, i.e. the close reading of the opera’s libretto taking into consideration its musicality and in comparison with Dante’s severe treatment of Schicchi. By then, it becomes clear that: if Gianni Schicchi is a comedy, it is a black comedy reflecting Puccini’s Nihilism and sarcasm; whereas Dante’s judgment was based on a strict and rigid interpretation of Thomas Aquinas’s theology and his political vision sustaining the aristocracy, Puccini approached Schicchi more humanly and democratically; and, Puccini thus challenged Dante’s ideological position. In sum, the opera Gianni Schicchi represents Puccini’s criticism of social injustice and hope for a better society without class struggle. This preliminary conclusion, ii however, is supported solely by circumstantial evidences. In order to substantiate and make it worthy as the final conclusion, the final chapter discusses Puccini’s other operas to find a coherent flow of the theme as well as the question of authorship. Doing so, it becomes evident that the theme of social injustice constitutes the thread throughout his entire oeuvre. iii RÉSUMÉ Gianni Schicchi, opéra en un acte de Giacomo Puccini qui fait partie intégrale de sa trilogie Il Trittico, a connu sa première mondiale à New York le 14 décembre 1918. Schicchi est un personnage que Dante Alighieri a condamné à l’enfer dans sa Commedia, et plus précisément dans le Canto XXX de l’Inferno, pour s’être fait passer pour le feu Buoso Donati et pour avoir ainsi falsifié son testament avec succès. Par contre, l’opéra de Puccini est une comédie dotée d’un heureux dénouement qui transforme Schicchi, un des pires pécheurs selon Dante, en un héros. Puccini étant réputé pour être cosmopolite et xénophile, on peut se demander ce qui l’a incité à choisir cette fois-ci Dante ? En effet, il s’agit du seul opéra de Puccini qui est basé sur une source italienne et du seul opéra buffa parmi toutes ses œuvres. De plus, si Dante a été en effet l’inspiration pour son Gianni Schicchi, pourquoi n’a-t-il pas respecté la quintessence de l’Inferno XXX. Malheureusement, la doctrine sur ce point précis est peu abondante. Dans le but de trouver des réponses auxdites questions, le premier chapitre traitera des aspects historiques, soit d’un point de vue biographique, sociale, politique et artistique. Le focus du deuxième chapitre portera sur l’analyse du libretto de l’opéra Gianni Schicchi en prenant en considération sa musicalité et le mettant en contraste avec le traitement sévère auquel Dante a assujetti Schicchi. À ce stade-là, il nous paraitra clair : que si Gianni Schicchi est une comédie, il s’agira d’une comédie noir reflétant le Nihilisme et le sarcasme de Puccini ; que le jugement de Dante est base sur l’interprétation stricte et rigide de la théologie de Thomas d’Aquin ainsi que sa propre vision politique valorisant l’aristocratie, tandis que l’approche de Puccini envers Schicchi est plus humaine et démocratique ; et que Puccini a ainsi lancé défi à la position idéologique de Dante. En somme, l’opéra Gianni Schicchi représente le critique de l’injustice sociale de iv Puccini et son espoir pour une meilleure société libre de la lutte des classes. Cette conclusion préliminaire est cependant appuyée uniquement de preuves circonstancielles. Afin de la soutenir davantage et de la rendre digne de la conclusion finale, le dernier chapitre discutera d’autres opéras de Puccini ainsi que « la notion d’autorité ». En ce faisant, il deviendra sans équivoque qu’il y a un fil conducteur à travers ses œuvres, soit le thème de l’injustice sociale. v ACKNOWLEDGMENTS I cannot begin to describe how indebted I am to Professor Eugenio Bolongaro for his invaluable assistance with my thesis. He graciously agreed to become my thesis supervisor halfway through the process and the enthusiasm that he displayed regarding my thesis topic inspired and encouraged me throughout my work. His multi-dimensional thinking and thorough guidance on drafting taught me how one should develop a more comprehensible and convincing thesis. I owe special thanks to Professor Gabriella Ravenni, president of Centro Studi Giacomo Puccini in Lucca, Italy, who kindly received me in her office and provided me with insightful information on Giacomo Puccini as well as various sources of reference concerning him. I would also like to thank Professor Matteo Soranzo who gave me my first exposure to Dante and his Commedia during my undergraduate program in Italian Studies. Without his expertise and suggestion about “authorship,” the conclusion of my thesis would have omitted this important facet. Last but not least, I want to express my sincere gratitude to Professor Lucienne Kroha who guided me throughout my studies at McGill University: she was always available for any guidance that I needed and encouraged me to pursue my passion. Finally, after almost thirty years of legal practice, the high academic standards of McGill University and the excellent services rendered by its support staff were a great incentive for me to pursue my academic interest, namely: Mr. Lonnie Weatherby, an expert librarian knowledgeable about Italian literature, taught me how to conduct proper library research; and, Ms. Lynda Bastian, our Graduate Study Coordinator, always helped me and made my student life easier. vi INTRODUCTION Giacomo Puccini’s Gianni Schicchi is a one-act opera forming part of his trilogy called Il Trittico. It received its world premiere in New York on December 14, 1918 and was immediately well received both abroad and in Italy where it was first performed in Rome on January 11, 1919. The title of the opera is derived from its protagonist, Gianni Schicchi, a character whose story already had a distinguished, though minor, career in Italian letters since Dante Alighieri condemned him to Hell in his Commedia, more precisely in Canto XXX of the Inferno, for having impersonated the deceased Buoso Donati and successfully falsified the latter’s will. Surprisingly, Puccini’s Gianni Schicchi is not a story about eternal damnation but a comedy with a happy ending and the impersonator Schicchi, one of Dante’s worst sinners, becomes a family hero. Perhaps even more surprising is the fact that Gianni Schicchi, Puccini’s eleventh opera, is the only one that is based on an Italian source and the only opera buffa, if not the only comic opera,1 in Puccini’s entire oeuvre. Why did Puccini, who was known to be a cosmopolitan xenophile, choose Dante at this particular time in his career to depart from his usual practice of finding inspiration from non-Italian sources and instead drew a character from Dante, the most prestigious Italian cultural icon? Moreover, in drawing from such literary giant as Dante, why did Puccini not respect the quintessence of Inferno XXX and rather transformed Dante’s bleak tale into a comedy that saved Schicchi from Hell and let him enjoy the heavenly Florence? Some scholars point out that Puccini always admired Dante but that does not shed much light either on the choice of subject – Schicchi after all is a minor character in the Commedia – or the drastic recasting by the composer of the story told by the poet.
Load more

Recommended publications
  • 10-12-2019 Turandot Mat.Indd
    Synopsis Act I Legendary Peking. Outside the Imperial Palace, a mandarin reads an edict to the crowd: Any prince seeking to marry Princess Turandot must answer three riddles. If he fails, he will die. The most recent suitor, the Prince of Persia, is to be executed at the moon’s rising. Among the onlookers are the slave girl Liù, her aged master, and the young Calàf, who recognizes the old man as his long-lost father, Timur, vanquished King of Tartary. Only Liù has remained faithful to the king, and when Calàf asks her why, she replies that once, long ago, Calàf smiled at her. The mob cries for blood but greets the rising moon with a sudden fearful reverence. As the Prince of Persia goes to his death, the crowd calls upon the princess to spare him. Turandot appears in her palace and wordlessly orders the execution to proceed. Transfixed by the beauty of the unattainable princess, Calàf decides to win her, to the horror of Liù and Timur. Three ministers of state, Ping, Pang, and Pong, appear and also try to discourage him, but Calàf is unmoved. He reassures Liù, then strikes the gong that announces a new suitor. Act II Within their private apartments, Ping, Pang, and Pong lament Turandot’s bloody reign, hoping that love will conquer her and restore peace. Their thoughts wander to their peaceful country homes, but the noise of the crowd gathering to witness the riddle challenge calls them back to reality. In the royal throne room, the old emperor asks Calàf to reconsider, but the young man will not be dissuaded.
    [Show full text]
  • A Midsummer Night's Dream
    Monday 25, Wednesday 27 February, Friday 1, Monday 4 March, 7pm Silk Street Theatre A Midsummer Night’s Dream by Benjamin Britten Dominic Wheeler conductor Martin Lloyd-Evans director Ruari Murchison designer Mark Jonathan lighting designer Guildhall School of Music & Drama Guildhall School Movement Founded in 1880 by the Opera Course and Dance City of London Corporation Victoria Newlyn Head of Opera Caitlin Fretwell Chairman of the Board of Governors Studies Walsh Vivienne Littlechild Dominic Wheeler Combat Principal Resident Producer Jonathan Leverett Lynne Williams Martin Lloyd-Evans Language Coaches Vice-Principal and Director of Music Coaches Emma Abbate Jonathan Vaughan Lionel Friend Florence Daguerre Alex Ingram de Hureaux Anthony Legge Matteo Dalle Fratte Please visit our website at gsmd.ac.uk (guest) Aurelia Jonvaux Michael Lloyd Johanna Mayr Elizabeth Marcus Norbert Meyn Linnhe Robertson Emanuele Moris Peter Robinson Lada Valešova Stephen Rose Elizabeth Rowe Opera Department Susanna Stranders Manager Jonathan Papp (guest) Steven Gietzen Drama Guildhall School Martin Lloyd-Evans Vocal Studies Victoria Newlyn Department Simon Cole Head of Vocal Studies Armin Zanner Deputy Head of The Guildhall School Vocal Studies is part of Culture Mile: culturemile.london Samantha Malk The Guildhall School is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation A Midsummer Night’s Dream Music by Benjamin Britten Libretto adapted from Shakespeare by Benjamin Britten and Peter Pears
    [Show full text]
  • Gianni Schicchi De Giacomo Puccini: Los Semiomotivos
    2015 32 Iciar Nadal García Gianni Schicchi de Giacomo Puccini: los semiomotivos Departamento Lingüística General e Hispánica Director/es Pueo Domínguez, Juan Carlos Blesa Lalinde, José Ángel Tesis Doctoral Autor Director/es UNIVERSIDAD DE ZARAGOZA Repositorio de la Universidad de Zaragoza – Zaguan http://zaguan.unizar.es Departamento Director/es Tesis Doctoral GIANNI SCHICCHI DE GIACOMO PUCCINI: LOS SEMIOMOTIVOS Autor Iciar Nadal García Director/es Pueo Domínguez, Juan Carlos Blesa Lalinde, José Ángel UNIVERSIDAD DE ZARAGOZA Lingüística General e Hispánica 2009 Repositorio de la Universidad de Zaragoza – Zaguan http://zaguan.unizar.es Departamento Director/es Tesis Doctoral Autor Director/es UNIVERSIDAD DE ZARAGOZA Repositorio de la Universidad de Zaragoza – Zaguan http://zaguan.unizar.es GIANNI SCHICCHI DE GIACOMO PUCCINI: LOS SEMIOMOTIVOS Tesis Doctoral Presentada por Icíar Nadal García para optar al título de doctora Codirectores de la Tesis: Dr. D. José Ángel Blesa Lalinde, Universidad de Zaragoza Dr. D. Juan Carlos Pueo Domínguez, Universidad de Zaragoza Área de Teoría de la literatura y literatura comparada Departamento de Lingüística General e Hispánica Universidad de Zaragoza GIANNI SCHICCHI DE GIACOMO PUCCINI: LOS SEMIOMOTIVOS Icíar Nadal García Vº Bº Los codirectores de la tesis Fdo. Dr. Jose Ángel Blesa Lalinde Fdo. Dr. Juan Carlos Pueo Domínguez AGRADECIMIENTOS Al terminar de redactar la investigación desarrollada hasta hoy, me siento afortunada por haber encontrado tantas personas generosas y de tan gran calidad. Quiero agradecer la ayuda de los codirectores de la tesis, José Ángel Blesa y Juan Carlos Pueo, mis maestros en estos últimos años. Su asesoramiento científico, su exigencia y su entusiasmo durante este proceso, han sido decisivos.
    [Show full text]
  • Children in Opera
    Children in Opera Children in Opera By Andrew Sutherland Children in Opera By Andrew Sutherland This book first published 2021 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2021 by Andrew Sutherland Front cover: ©Scott Armstrong, Perth, Western Australia All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-6166-6 ISBN (13): 978-1-5275-6166-3 In memory of Adrian Maydwell (1993-2019), the first Itys. CONTENTS List of Figures........................................................................................... xii Acknowledgements ................................................................................. xxi Chapter 1 .................................................................................................... 1 Introduction What is a child? ..................................................................................... 4 Vocal development in children ............................................................. 5 Opera sacra ........................................................................................... 6 Boys will be girls .................................................................................
    [Show full text]
  • Puccini Il Tabarro
    Puccini Il Tabarro MELODY MOORE · BRIAN JAGDE · LESTER LYNCH MDR LEIPZIG RADIO CHOIR · DRESDNER PHILHARMONIE MAREK JANOWSKI Giacomo Puccini (1858-1924) Giorgetta Melody Moore, Soprano Il Tabarro (1918) Michele Lester Lynch, Baritone Opera in one act Luigi Brian Jagde, Tenor Libretto: Giuseppe Adami Un venditore di canzonette Khanyiso Gwenxane, Tenor Frugola Roxana Constantinescu, Mezzo-soprano 1 Introduzione 2. 02 Tinca Simeon Esper, Tenor 2 O Michele? (Giorgetta, Michele, Scaricatori) 2. 07 Talpa Martin-Jan Nijhof, Bass 3 Si soffoca, padrona! (Luigi, Giorgetta, Tinca, Talpa) 2. 11 Voce di Sopranino & 4 Ballo con la padrona!(Tinca, Luigi, Giorgetta, Talpa, Michele) 1. 35 Un’amante Joanne Marie D’Mello, Soprano 5 Perché? (Giorgetta, Un venditore di canzonette, Michele, Midinettes) 3. 21 Voce di Tenorino & 6 Conta ad ore le giornate (Midinettes, Frugola, Giorgetta) 3. 56 Un amante Yongkeun Kim, Tenor 7 To’! guarda la mia vecchia! (Talpa, Frugola, Michele, Luigi, Tinca) 1. 21 8 Hai ben raggione; meglio non pensare (Luigi) 2. 22 MDR Leipzig Radio Choir 9 Segui il mio esempio (Tinca, Talpa, Frugola, Giorgetta, Luigi) 2. 32 Chorus Master: Jörn Hinnerk Andresen 10 Belleville è il suolo e il nostro mondo! (Giorgetta, Luigi) 2. 29 11 Adesso ti capisco (Frugola, Talpa, Luigi, Voce di Sopranino, Voce di Tenorino) 2. 22 Dresdner Philharmonie 12 O Luigi! Luigi! (Giorgetta, Luigi) 1. 30 Concertmaster: Wolfgang Hentrich 13 Come? Non sei andato? (Michele, Luigi, Giorgetta) 1. 13 Assistant Conductor: Andreas Henning 14 Dimmi: perché gli hai chiesto di sbarcarti a Rouen? (Giorgetta, Luigi, Michele) 4. 36 15 Perché non vai a letto? (Michele, Giorgetta) 7.
    [Show full text]
  • Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected]
    University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-15-2018 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Bourne, Thaddaeus, "Male Zwischenfächer Voices and the Baritenor Conundrum" (2018). Doctoral Dissertations. 1779. https://opencommons.uconn.edu/dissertations/1779 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus James Bourne, DMA University of Connecticut, 2018 This study will examine the Zwischenfach colloquially referred to as the baritenor. A large body of published research exists regarding the physiology of breathing, the acoustics of singing, and solutions for specific vocal faults. There is similarly a growing body of research into the system of voice classification and repertoire assignment. This paper shall reexamine this research in light of baritenor voices. After establishing the general parameters of healthy vocal technique through appoggio, the various tenor, baritone, and bass Fächer will be studied to establish norms of vocal criteria such as range, timbre, tessitura, and registration for each Fach. The study of these Fächer includes examinations of the historical singers for whom the repertoire was created and how those roles are cast by opera companies in modern times. The specific examination of baritenors follows the same format by examining current and
    [Show full text]
  • CHAN 3000 FRONT.Qxd
    CHAN 3000 FRONT.qxd 22/8/07 1:07 pm Page 1 CHAN 3000(2) CHANDOS O PERA IN ENGLISH David Parry PETE MOOES FOUNDATION Puccini TOSCA CHAN 3000(2) BOOK.qxd 22/8/07 1:14 pm Page 2 Giacomo Puccini (1858–1924) Tosca AKG An opera in three acts Libretto by Giuseppe Giacosa and Luigi Illica after the play La Tosca by Victorien Sardou English version by Edmund Tracey Floria Tosca, celebrated opera singer ..............................................................Jane Eaglen soprano Mario Cavaradossi, painter ..........................................................................Dennis O’Neill tenor Baron Scarpia, Chief of Police................................................................Gregory Yurisich baritone Cesare Angelotti, resistance fighter ........................................................................Peter Rose bass Sacristan ....................................................................................................Andrew Shore baritone Spoletta, police agent ........................................................................................John Daszak tenor Sciarrone, Baron Scarpia’s orderly ..............................................Christopher Booth-Jones baritone Jailor ........................................................................................................Ashley Holland baritone A Shepherd Boy ............................................................................................Charbel Michael alto Geoffrey Mitchell Choir The Peter Kay Children’s Choir Giacomo Puccini, c. 1900
    [Show full text]
  • Ceriani Rowan University Email: [email protected]
    Nineteenth-Century Music Review, 14 (2017), pp 211–242. © Cambridge University Press, 2016 doi:10.1017/S1479409816000082 First published online 8 September 2016 Romantic Nostalgia and Wagnerismo During the Age of Verismo: The Case of Alberto Franchetti* Davide Ceriani Rowan University Email: [email protected] The world premiere of Pietro Mascagni’s Cavalleria rusticana on 17 May 1890 immediately became a central event in Italy’s recent operatic history. As contemporary music critic and composer, Francesco D’Arcais, wrote: Maybe for the first time, at least in quite a while, learned people, the audience and the press shared the same opinion on an opera. [Composers] called upon to choose the works to be staged, among those presented for the Sonzogno [opera] competition, immediately picked Mascagni’s Cavalleria rusticana as one of the best; the audience awarded this composer triumphal honours, and the press 1 unanimously praised it to the heavens. D’Arcais acknowledged Mascagni’smeritsbut,inthesamearticle,alsourgedcaution in too enthusiastically festooning the work with critical laurels: the dangers of excessive adulation had already become alarmingly apparent in numerous ill-starred precedents. In the two decades prior to its premiere, several other Italian composers similarly attained outstanding critical and popular success with a single work, but were later unable to emulate their earlier achievements. Among these composers were Filippo Marchetti (Ruy Blas, 1869), Stefano Gobatti (IGoti, 1873), Arrigo Boito (with the revised version of Mefistofele, 1875), Amilcare Ponchielli (La Gioconda, 1876) and Giovanni Bottesini (Ero e Leandro, 1879). Once again, and more than a decade after Bottesini’s one-hit wonder, D’Arcais found himself wondering whether in Mascagni ‘We [Italians] have finally [found] … the legitimate successor to [our] great composers, the person 2 who will perpetuate our musical glory?’ This hoary nationalist interrogative returned in 1890 like an old-fashioned curse.
    [Show full text]
  • Sailing on Seas of Uncertainties: Late Style and Puccini's Struggle for Self
    International Journal of Ageing and Later Life, 2008 3(1): 77Á95. # The Authors Sailing on seas of uncertainties: late style and Puccini’s struggle for self-renewal By AMIR COHEN-SHALEV Abstract The popularity of Puccini’s melodramatic operas, often derided by ‘‘serious’’ musicologists, has hindered a more rounded evaluation of his attempt at stylistic change. This paper offers a novel perspective of life- span creativedevelopment in order to move the discussion of Puccini beyond the dichotomy of popular versus high-brow culture. Tracing the aspects of gradual stylistic change that began in The Girl from the Golden West (1910) through the three operas of Il Trittico: Il Tabarro, Suor Angelica, and Gianni Schicchi (1918Á1919), the paper then focuses on Puccini’s last opera, Turandot (1926), as exemplifying a potential turn to a reflexive, philosophical style which is very different from the melodramatic, sentimentalist style generally associated with his work. In order to discuss this change as embodying a turn to late style, the paper identifies major stylistic shifts as well as underlying themes in the work of Puccini. The paper concludes by discussing the case of Puccini as a novel contribution to the discussion of lateness in art, until now reserved to a selected few ‘‘old Masters.’’ Keywords: Puccini, late style, life-span development, creativity. Amir Cohen-Shalev, Department of Gerontology, University of Haifa, Israel. 77 International Journal of Ageing and Later Life Beloved and popular, the operas of Giacomo Puccini have at the same time been derided by more ‘‘serious’’ musicologists as the product of a decadent, bourgeois society (Greenwald 1993).
    [Show full text]
  • BIO-Sulimsky AUG20.Pdf
    Vladislav Sulimsky Baritone Belarussian Verdi baritone Vladislav Sulimsky has rapidly become one of the leading singers of the world. In the summer of 2018, he made his debut at the Salzburg Festival as Tomsky (Queen of the Spades) under the baton of Mariss Jansons, followed by Count Luna (Il trovatore) at the Berlin State Opera, Jago (Otello) at the Vienna State Opera, and his role debut as Scarpia (Tosca) at the Malmö opera. He also made his house debut at the Munich State Opera with Count Luna and will appear for the first time at the Frankfurt Opera in the role of Siriex (Fedore) in January 2021, as well as with the Berlin Philharmonic and Kyrill Petrenko as Lanceotto Malatesta in Rachmaninov’s Francesca da Rimini. His house debut at the Paris Opera was cancelled due to the Covid-19 pandemic. Since 2004, baritone Vladislav Sulimsky has been a member of the Mariinsky Theatre in St. Petersburg, where he has sung countless parts including the title roles in Eugen Onegin and Gianni Schicchi, Ibn-Hakia (Iolanta), Kovalev (The Nose), Rodrigo (Don Carlo), Silvio (Pagliacci), Andrei Bolkonsky (War and Peace), Enrico (Lucia di Lammermoor), Giorgio Germont (La Traviata), Renato (Un ballo in maschera) and Ford (Falstaff). In 2010 Sulimsky sang Enrico Ashton (Lucia di Lammermoor) at the Mariinsky alongside Nathalie Dessay and Belcore in L’elisir d´amore with Anna Netrebko as Adina, followed by Giorgio Germont (La Traviata) and Robert in Iolanta. A frequent guest at the Bolshoi Theatre in Moscow, he has performed Prince Kurlyatev in Enchantress by Tchaikovsky and his parade title role Eugen Onegin.
    [Show full text]
  • La Fanciulla Del West Recital
    La Stagione d’Opera è realizzata con il contributo di In collaborazione con Soci Fondatori Teatro Donizetti di Bergamo Teatro Grande di Brescia Teatro Sociale di Como Teatro Ponchielli di Cremona Teatro Fraschini di Pavia La Fanciulla Recital del West d’Opera G. PUCCINI La Fanciulla del West Recital d’opera di Guelfo Civinini e Carlo Zangarini tratto dal dramma The girl of the Golden West di David Belasco musica di GIACOMO PUCCINI con Rebeka Lokar, soprano Angelo Villari, tenore Devid Cecconi, baritono accompagnati al pianoforte dal Maestro Valerio Galli Progamma dall’Atto Primo Introduzione (pianoforte) Ti voglio bene, Minnie (Cecconi - Lokar) Mister Johnson, siete rimasto indietro (Lokar -Villari) dall’Atto Secondo Un bacio, un bacio almen (Lokar -Villari) Vieni fuori, vieni fuor! (Lokar- Villari- Cecconi) dall’Atto Terzo Risparmiate lo scherno. Ch’ella mi creda (Villari -Cecconi) Nell’ambito della Stagione Opera 2020 OperaLombardia vuole continuare a sostenere gli artisti e le maestranze dello spettacolo, oltre a mantenere forte e vivo il legame con il proprio pubblico anche attraverso i nuovi sistemi di comunicazione. Sarà un omaggio all’opera di Giacomo Puccini. Gli interpreti principali di quella che sarà una produzione 2021 al Teatro Grande di Brescia, presentano in forma di concerto i momenti più significativi dell’opera. Durata: un’ora senza intervallo La Fanciulla del West a prima della Fanciulla del West, settimo titolo nella produzione di Puccini, andò in scena il 10 dicembre del 1910 al Metropolitan Ldi New York: sul podio
    [Show full text]
  • MODELING HEROINES from GIACAMO PUCCINI's OPERAS by Shinobu Yoshida a Dissertation Submitted in Partial Fulfillment of the Requ
    MODELING HEROINES FROM GIACAMO PUCCINI’S OPERAS by Shinobu Yoshida A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in The University of Michigan 2011 Doctoral Committee: Associate Professor Naomi A. André, Co-Chair Associate Professor Jason Duane Geary, Co-Chair Associate Professor Mark Allan Clague Assistant Professor Victor Román Mendoza © Shinobu Yoshida All rights reserved 2011 TABLE OF CONTENTS LIST OF FIGURES ...........................................................................................................iii LIST OF APPENDECES................................................................................................... iv I. CHAPTER ONE........................................................................................................... 1 INTRODUCTION: PUCCINI, MUSICOLOGY, AND FEMINIST THEORY II. CHAPTER TWO....................................................................................................... 34 MIMÌ AS THE SENTIMENTAL HEROINE III. CHAPTER THREE ................................................................................................. 70 TURANDOT AS FEMME FATALE IV. CHAPTER FOUR ................................................................................................. 112 MINNIE AS NEW WOMAN V. CHAPTER FIVE..................................................................................................... 157 CONCLUSION APPENDICES………………………………………………………………………….162 BIBLIOGRAPHY..........................................................................................................
    [Show full text]