VERISMO IN ITALIAN ART SONG: A COMPARATIVE ANALYSIS OF VERISTIC LITERATURE, OPERA AND ART SONG WILLIAM SETH BROOKE A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF MUSICAL ARTS UNIVERSITY OF WASHINGTON 2015 READING COMMITTEE: TOM HARPER, CHAIR ROBIN MCCABE RHONDA KLINE PROGRAM AUTHORIZED TO OFFER DEGREE: MUSIC © COPYRIGHT 2015 WILLIAM SETH BROOKE ii UNIVERSITY OF WASHINGTON ABSTRACT VERISMO IN ITALIAN ART SONG: A COMPARATIVE ANALYSIS OF VERISTIC LITERATURE, OPERA AND ART SONG WILLIAM SETH BROOKE CHAIR OF THE SUPERVISORY COMMITTEE: PROFESSOR THOMAS HARPER VOICE/OPERA DEPARTMENT Verismo in Italian art song is examined through the application of seven primary characteristics, which are identified as the defining tenets of verismo in Italian literature and opera. These seven characteristics are: reaction against romanticism, character choice, linguistics, silent author, dramatic structure, milieu and violent extremes. These core elements of verismo are initially extracted from the veristic works of Giovanni Verga, as influenced by Émile Zola and French naturalism. Then they are applied to the operas of the veristi, including Giacomo Puccini, Ruggiero Leoncavallo, Pietro Mascagni and Umberto Giordano. Finally, having established their relevance to the classification of verismo in opera, they are likewise applied to the art songs of the veristi. In addition to surveying many art songs composed by the veristi from 1875 – 1920, this application identifies two works of pure verismo composition: 6 Liriche by Giordano and Imploration éperdue by Leoncavallo. iii ACKNOWLEDGEMENTS “The finest of friends must sometimes be stern sentinels, who will insist that we become what we have the power to become.” ~ Elder Neal A. Maxell I am sincerely grateful for the associates and family members who, along my journey of completing this dissertation, have stood sternly as examples of achieving one’s great potential. Thank you for keeping me firm in the path through your encouragement, assistance, intellectual contribution and unwavering support. Together, we have completed this dissertation; and, during this journey, you have become a friend because you helped me to achieve what I had the power to become. Professor Harper: Your constant conviction of what needed to occur, coupled with your relentless efforts to make it happen, have been most valuable. Not only for the completion of this degree, but also for the development of character you have helped to forge within me. Lorenza Guiot: Obtaining Leoncavallo’s Imploration éperdue from you was the catalyst for this entire project. Thank you for making it, and several other scores, available. Professor Kate O’Neill: Your willingness to assist me was humbling. Thank you for sharing your expertise of copyright and for your assistance in navigating its intricacies. Dr. Robin McCabe, Rhonda Kline and Dr. Jarrad Harford: I sincerely appreciate your participation on my doctoral committee and the countless contributions you have made. With both long-term and last-minute commitments, you have enabled this project to go forward, for which I thank you. Judy Tsou and Curtis Cronn: I have abused my library privileges. Thank you for always being willing to aid me in finding scores and inquiring about scholastic progress. Dr. Brenda Banks: A dissertation without fulfillment of degree requirements is just a collection of words. Thank you for your assistance in giving this project purpose. To my family: Mom and Dad, you have always supported me, which has brought great accomplishments in life. For this, I love you. To my late grandparents, Bill and Edna, your vision and persistence in seeing the day that I would graduate with a doctorate was angelic. Especially Dr. Edna Brooke, you set the example for scholastic achievement. I love you and thank you. iv TABLE OF CONTENTS LIST OF FIGURES ................................................................................................................... viii ÉMILE ZOLA AND FRENCH NATURALISM........................................................................1 Zola’s France........................................................................................................................... 1 Political Scene..................................................................................................................... 1 Literary Scene ..................................................................................................................... 2 French Naturalism.................................................................................................................. 4 General Background ........................................................................................................... 4 Influence of Scientific Theories.......................................................................................... 4 Objectivity and Disinterestedness....................................................................................... 5 Zola’s Scientific Approach ................................................................................................. 7 Heredity............................................................................................................................... 9 Reaction to Romanticism.................................................................................................. 11 Émile Zola.............................................................................................................................. 12 Biographical Information.................................................................................................. 12 Major Works ..................................................................................................................... 13 Tenets of Naturalism in Zola’s Works................................................................................ 14 Heredity............................................................................................................................. 14 Textual Voice and Class ................................................................................................... 16 The Lurid .......................................................................................................................... 18 Environmental Factors...................................................................................................... 20 Zola’s Characters .............................................................................................................. 21 Critical Reception ................................................................................................................. 23 Reception of Heredity....................................................................................................... 23 Reception of the Lurid ...................................................................................................... 24 Reception of the Scientific Approach............................................................................... 24 GIOVANNI VERGA AND ITALIAN LITERARY VERISMO ..............................................26 Literary Italy and the Risorgimento ................................................................................... 26 Italian Risorgimento.......................................................................................................... 26 Literary Tuscan Italian...................................................................................................... 27 Italian Illiteracy................................................................................................................. 29 Literature and Reality ....................................................................................................... 30 Origins of Italian Verismo.................................................................................................... 31 Influence of French Naturalism ........................................................................................ 31 Independence From Naturalism........................................................................................ 33 Verismo Defined ............................................................................................................... 37 v Verismo as a Reaction Against Romanticism ..................................................................... 39 Risorgimento’s Literary Language ................................................................................... 39 Romanticism’s Vocabulary............................................................................................... 40 Romanticism’s Rules ........................................................................................................ 41 Romanticism’s Fatness ..................................................................................................... 42 Giovanni Verga and the Veristic Writers........................................................................... 43 Primary Veristic Writers................................................................................................... 43 Verga’s Biographical Information.................................................................................... 45 Verga’s Two Careers ........................................................................................................ 47 Foundational Elements of Italian Verismo ........................................................................