Giacomo Puccini

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Biography

Giacomo Antonio Domenico Michele Secondo Maria Puccini was an Italian opera composer who has been called "the greatest composer of Italian opera after Verdi."

Puccini's early work was rooted in traditional late-19th-century romantic Italian opera. Later, he successfully developed his work in the realistic verismo style, of which he became one of the leading exponents.

Puccini's most renowned works are La bohème (1896), Tosca (1900), Madama Butterfly (1904), and Turandot (1924), all of which are among the important operas played as standards.

Family and Education

Puccini was born Giacomo Antonio Domenico Michele Secondo Maria Puccini in Lucca, Italy 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 Giacomo). 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. However, when Michele Puccini died in 1864, his son Giacomo was only six years old, and thus not capable of taking over his father's job. As a child, he nevertheless participated in the musical life of the Cattedrale di San Martino, as a member of the boys' choir and later as a substitute organist.

Puccini was given a general education at the seminary of San Michele in Lucca, and then at the seminary of the cathedral. One of Puccini's uncles, Fortunato Magi, supervised his musical education. Puccini got a diploma from the Pacini School of Music in Lucca in 1880, having studied there with his uncle Fortunato, and later with Carlo Angeloni, who had also instructed Alfredo Catalani. A grant from the Italian Queen Margherita, and assistance from another uncle, Nicholas Cerù, provided the funds necessary for Puccini to continue his studies at the Milan Conservatory, where he studied composition with Stefano Ronchetti-Monteviti, Amilcare Ponchielli, and Antonio Bazzini. Puccini studied at the conservatory for three years, sharing a room with Pietro Mascagni. In 1880, at the age of 21, Puccini composed his Mass, which marks the culmination of his family's long association with church music in his native Lucca.

Early Career and First Operas

Puccini wrote an orchestral piece called the Capriccio sinfonico as a thesis composition for the Milan Conservatory. Puccini's teachers Ponchielli and Bazzini were impressed by the work, and it was performed at a student concert at the conservatory on July 14, 1883, conducted by Franco Faccio. Puccini's work was favorably reviewed in the Milanese publication Perseveranza, and thus Puccini began to build a reputation as a young composer of promise in Milanese music circles.

Le Villi

After the premiere of the Capriccio sinfonico, Ponchielli and Puccini discussed the possibility that Puccini's next work might be an opera. Ponchielli invited Puccini to stay at his villa, where Puccini was introduced to another young man named Fernando Fontana. Puccini and Fontana agreed to collaborate on an opera, for which Fontana would provide the libretto. The work, Le Villi, was entered into a competition sponsored by the Sozogno music publishing company in 1883 (the same competition in which Pietro Mascagni's Cavalleria rusticana was the winner in 1889). Although it did not win, Le Villi was later staged at the Teatro Dal Verme, premiering on May 31, 1884. G. Ricordi & Co. music publishers assisted with the premier by printing the libretto without charge. Fellow students from the Milan Conservatory formed a large part of the orchestra. The performance was enough of a success that Casa Ricordi purchased the opera. Revised into a two-act version with an intermezzo between the acts, Le Villi was performed at La Scala in Milan, on January 24, 1885. However, Ricordi did not publish the score until 1887, hindering further performance of the work.

Edgar

Giulio Ricordi, head of G. Ricordi & Co. music publishers, was sufficiently impressed with Le Villi and its young composer that he commissioned a second opera, which would result in Edgar. Work was begun in 1884 when Fontana began working out the scenario for the libretto. Puccini finished primary composition in 1887 and orchestration in 1888. Edgar premiered at La Scala on April 21, 1889 to a lukewarm response. The work was withdrawn for revisions after its third performance. In a Milanese newspaper, Giulio Ricordi published a defense of Puccini's skill as a composer, while criticizing Fontana's libretto. A revised version met with success at the Teatro di Giglio in Puccini's native Lucca on September 5, 1891. In 1892, further revisions reduced the length of the opera from four acts to three, in a version that was well received in Ferrara and was performed in Turin and in Spain. Puccini made further revisions in 1901 and 1905, but the work never achieved popularity. Without the personal support of Ricordi, Edgar might have cost Puccini his career. Puccini had eloped with his former piano student, the married Elvira Gemignani, and Ricordi's associates were willing to turn a blind eye to his lifestyle as long as he was successful. When Edgar failed, they suggested to Ricordi that he should drop Puccini, but Ricordi said that he would stay with him and continued his allowance until his next opera.

Manon Lescaut

On commencing his next opera, Manon Lescaut, Puccini announced that he would write his own libretto so that "no fool of a librettist" could spoil it. Ricordi persuaded him to accept Ruggero Leoncavallo as his librettist, but Puccini soon asked Ricordi to remove him from the project. Four other librettists were then involved with the opera, as Puccini constantly changed his mind about the structure of the piece. It was almost by accident that the final two, Luigi Illica and Giuseppe Giacosa, came together to complete the opera.

Manon Lescaut premiered at the Teatro Regio in Turin on February 2, 1893. By coincidence, Puccini's first enduringly popular opera appeared within a week of the premiere of Verdi's last opera, Falstaff, which was first performed on February 9, 1893. In anticipation of the premiere, La Stampa wrote that Puccini was a young man concerning whom "great hopes" had a real basis. Because of the failure of Edgar, however, a failure of Manon Lescaut could have jeopardized Puccini's future as a composer. Although Giulio Ricordi, head of Casa Ricordi, was supportive of Puccini while Manon Lescaut was still in development, the Casa Ricordi board of directors was considering cutting off Puccini's financial support. However, "Manon Lescaut was Puccini's first and only uncontested triumph, acclaimed by critics and public alike." After the London premiere in 1894, George Bernard Shaw pronounced: "Puccini looks to me more like the heir of Verdi than any of his rivals."

Illica and Giacosa returned as librettists for Puccini for his next three operas, probably his greatest successes: La bohème, Tosca and Madama Butterfly. Manon Lescaut was a great success and established Puccini's reputation as the most promising rising composer of his generation, and the most likely "successor" to Verdi as the leading exponent of the Italian operatic tradition.

 La bohème

Puccini's next work after Manon Lescaut was La bohème, a four-act opera based on the 1851 book by Henri Murger, La Vie de Bohème. La bohème premiered in Turin in 1896, conducted by Arturo Toscanini. Within a few years, it had been performed throughout many of the leading opera houses of Europe, including Britain, as well as in the United States. It was a popular success, and remains one of the most frequently performed operas ever written.

The libretto of the opera, freely adapted from Murger's episodic novel combines comic elements of the impoverished life of the young protagonists with the tragic aspects, such as the death of the young seamstress Mimí. Puccini's own life as a young man in Milan served as a source of inspiration for elements of the libretto. During his years as a conservatory student and in the years before Manon Lescaut, he experienced poverty similar to that of the bohemians in La bohème, including chronic shortage of necessities like food, clothing and money to pay rent. Although Puccini was granted a small monthly stipend by the Congregation of Charity in Rome (Congregazione di caritá), he frequently had to pawn his possessions to cover basic expenses. Early biographers such as Wakeling Dry and Eugenio Checchi, who were Puccini's contemporaries, drew express parallels between these incidents and particular events in the opera. Checchi cited a diary kept by Puccini while he was still a student, which recorded an occasion in which, as in Act 4 of the opera, a single herring served as a dinner for four people. Puccini himself commented: "I lived that Bohème, when there wasn't yet any thought stirring in my brain of seeking the theme of an opera." 

Puccini's composition of La bohème was the subject of a public dispute between Puccini and fellow composer Ruggiero Leoncavallo. In early 1893, the two composers discovered that they were both engaged in writing operas based on Murger's work. Leoncavallo had started his work first, and he and his music publisher claimed to have "priority" on the subject (although Murger's work was in the public domain). Puccini responded that he started his own work without having any knowledge of Leoncavallo's project, and wrote: "Let him compose. I will compose. The audience will decide." Puccini's opera premiered a year before that of Leoncavallo, and has been a perennial audience favorite, while Leoncavallo's version of the story was quick to fade into obscurity.

Tosca

Puccini's next work after La bohème was Tosca (1900), arguably Puccini's first foray into verismo, the realistic depiction of many facets of real life including violence. Puccini had been considering an opera on this theme since he saw the play Tosca by Victorien Sardou in 1889, when he wrote to his publisher, Giulio Ricordi, begging him to get Sardou's permission for the work to be made into an opera: "I see in this Tosca the opera I need, with no overblown proportions, no elaborate spectacle, nor will it call for the usual excessive amount of music."

The music of Tosca employs musical signatures for particular characters and emotions, which have been compared to Wagnerian leitmotivs, and some contemporaries saw Puccini as thereby adopting a new musical style influenced by Wagner. Others viewed the work differently. Rejecting the allegation that Tosca displayed Wagnerian influences, a critic reporting on the February 20, 1900 Torino premiere wrote: "I don't think you could find a more Puccinian score than this."

Automobile Accident

On February 25, 1903, Puccini was seriously injured in a car accident during a nighttime journey on the road from Lucca to Torre del Lago. The car was driven by Puccini's chauffeur and was carrying Puccini, his future wife Elvira, and their son Antonio. It went off the road, fell several meters, and flipped over. Elvira and Antonio were flung from the car and escaped with minor injuries. Puccini's chauffeur, also thrown from the car, suffered a serious fracture of his femur. Puccini was pinned under the vehicle, with a severe fracture of his right leg and with a portion of the car pressing down on his chest. A doctor living near the scene of the accident, together with another person who came to investigate, saved Puccini from the wreckage. The injury did not heal well, and Puccini remained under treatment for months. During the medical examinations that he underwent, it was also found that he was suffering from a form of diabetes. The accident and its consequences slowed Puccini's completion of his next work, Madama Butterfly.

Madama Butterfly

The original version of Madama Butterfly, premiered at La Scala on February 17, 1904 with Rosina Storchio in the title role. It was initially greeted with great hostility (probably largely owing to inadequate rehearsals). When Storchio's kimono accidentally lifted during the performance, some in the audience started shouting: "The butterfly is pregnant" and "There is the little Toscanini." The latter comment referred to her well publicized affair with Arturo Toscanini. This version was in two acts; after its disastrous premiere, Puccini withdrew the opera, revising it for what was virtually a second premiere at Brescia in May 1904, with additional performances in Buenos Aires, London, the USA, and Paris. In 1907, Puccini made his final revisions to the opera in a fifth version, which has become known as the "standard version." Today, the standard version of the opera is the version most often performed around the world. However, the original 1904 version is occasionally performed as well, and has been recorded.

La fanciulla del West

Puccini completed La fanciulla del West, based on a play by David Belasco, in 1910. This was commissioned by, and first performed at, the Metropolitan Opera in New York on December 10, 1910 with Met stars Enrico Caruso and Emmy Destinn for whom Puccini created the leading roles of Dick Johnson and Minnie. Toscanini, then the musical director of the Met, conducted. This was the first world premiere of an opera at the Met. The premiere was a great success. However, the compositional style employed in the opera, with few stand-alone arias, was criticized at the time and remains a barrier to the opera's complete acceptance into the standard repertoire. Some contemporaries also criticized the opera for failing to achieve an "American" tone. However, the opera has been acclaimed for its incorporation of advanced harmonic language and rhythmic complexity into the Italian operatic form. In addition, one aria from the opera, Ch'ella mi creda, has become a staple of compilation albums by operatic tenors. It is said that during World War I, Italian soldiers sang this aria to maintain their spirits. The 2008 Italian film, Puccini e la fanciulla (Puccini and the Girl), is based on the period of his life when he was composing the opera.

La rondine

Puccini completed the score of La rondine (to a libretto by Giuseppe Adami) in 1916 after two years of work, and it was premiered at the Grand Théâtre de Monte Carlo on March 27, 1917. The opera had been originally commissioned by Vienna's Carltheater; however, the outbreak of World War I prevented the premiere from being given there. Moreover, the firm of Ricordi had declined the score of the opera – Giulio Ricordi's son Tito was then in charge and he described the opera as "bad Lehár." It was taken up by their rival, Lorenzo Sonzogno, who arranged the first performance in neutral Monaco. The composer continued to work at revising this, the least known of his mature operas, until his death.

La rondine was initially conceived as an operetta, but Puccini eliminated spoken dialog, rendering the work closer in form to an opera. A modern reviewer described La rondine as "a continuous fabric of lilting waltz tunes, catchy pop-styled melodies, and nostalgic love music," while characterizing the plot as recycling characters and incidents from works like La traviata and Die Fledermaus.

Il trittico: Il tabarro, Suor Angelica, and Gianni Schicchi

In 1918, Il trittico premiered in New York. This work is composed of three one-act operas, each concerning the concealment of a death: a horrific episode (Il tabarro) in the style of the Parisian Grand Guignol, a sentimental tragedy (Suor Angelica), and a comedy (Gianni Schicchi). Of the three, Gianni Schicchi, containing the popular aria O mio babbino caro, has remained popular.

Turandot

Turandot, Puccini's final opera, was left unfinished, and the last two scenes were completed by Franco Alfano based on the composer's sketches. The libretto for Turandot was based on a play of the same name by Carlo Gozzi. The music of the opera is heavily inflected with pentatonic motifs, intended to produce an Asiatic flavor to the music. Unlike La fanciulla, Turandot contains a number of memorable stand-alone arias, among them Nessun dorma.

Marriage and Affairs

In the autumn of 1884, Puccini began a relationship with a married woman named Elvira Gemignani (née Bonturi, 1860–1930) in Lucca. Elvira's husband, Narciso Gemignani, was an "unrepentant womanizer," and Elvira's marriage was not a happy one. Elvira became pregnant by Puccini, and their son, Antonio (1886–1946), was born in Monza. Elvira left Lucca when the pregnancy began to show, and gave birth elsewhere to avoid gossip. Elvira, Antonio and Elvira's daughter by Narciso, Fosca (1880–1968), began to live with Puccini shortly afterwards. After Narciso was killed, Puccini and Elvira were able to marry in early 1904, and to legitimize Antonio.

The marriage between Puccini and Elvira was also troubled by infidelity, as Puccini had frequent affairs himself, including with well-known singers such as Maria Jeritza, Emmy Destinn, Cesira Ferrani, and Hariclea Darclée.

In 1909, Puccini's wife Elvira publicly accused Doria Manfredi, a maid working for the Puccini family, of having an affair with the composer. After being publicly accused of adultery, Doria Manfredi committed suicide. An autopsy determined, however, that Doria had died a virgin, refuting the allegations made against her. Elvira Puccini was prosecuted for slander, and was sentenced to more than five months in prison, although a payment to the Manfredi family by Puccini spared Elvira from having to serve the sentence. Some music critics and interpreters of Puccini's work have speculated that the psychological effects of this incident on Puccini interfered with his ability to complete compositions later in his career, and also influenced the development of his characters such as Liù (from Turandot), a slave girl who dies tragically by suicide.

According to documents found in the possession of a descendant of the Manfredi family in 2007, Puccini was actually having an affair with Giulia Manfredi, Doria's cousin. Press reports at the time when these documents were discovered alleged that Nadia Manfredi was Puccini's granddaughter, by a son, Antonio Manfredi, born to Giulia.

Later Years

From 1891 onwards, Puccini spent most of his time, when not traveling on business, at Torre del Lago, a small community about fifteen miles from Lucca situated between the Ligurian Sea and Lake Massaciuccoli, just south of Viareggio. Torre del Lago was the primary place for Puccini to indulge his love of hunting. "I love hunting, I love cars: and for these things, in the isolation of Torre del Lago, I keep the faith." 

By 1900, he had acquired land and built a villa on the lake, now known as the "Villa Museo Puccini." He lived there until 1921, when pollution produced by peat works on the lake forced him to move to Viareggio, a few miles north. After 1904, Puccini's compositions were less frequent. Finally, in 1912, the death of Giulio Ricordi, Puccini's editor and publisher, ended a productive period of his career.

Death

A chain smoker of Toscano cigars and cigarettes, Puccini began to complain of chronic sore throats towards the end of 1923. A diagnosis of throat cancer led his doctors to recommend a new and experimental radiation therapy treatment, which was being offered in Brussels. Puccini and his wife never knew how serious the cancer was, as the news was revealed only to his son.

Puccini died in Brussels on November 29, 1924, aged 65, from complications after the treatment; uncontrolled bleeding led to a heart attack the day after surgery. News of his death reached Rome during a performance of La bohème. The opera was immediately stopped, and the orchestra played Chopin's Funeral March for the stunned audience. He was buried in Milan, in Toscanini's family tomb, but that was always intended as a temporary measure. In 1926 his son arranged for the transfer of his father's remains to a specially created chapel inside the Puccini villa at Torre del Lago.

Recent Additions

Angela Gheorghiu - 'Un Bel Di Vedremo' Live Performance Classical BRIT Awards 2010

Angela Gheorghiu - 'Un Bel Di Vedremo' Live Performance Classical BRIT Awards 2010

O Soave Fanciulla From La Boheme by Puccini  (Edgardo Dodo Crisol w Alegria Ferrer)

O Soave Fanciulla From La Boheme by Puccini (Edgardo Dodo Crisol w Alegria Ferrer)

GLORIA from Puccini's Messa di Gloria (The Reona Ito Chamber Orchestra & Chorus)

GLORIA from Puccini's Messa di Gloria (The Reona Ito Chamber Orchestra & Chorus)

TOSCA by

TOSCA by "Giacomo Puccini" Overture and First act

Maria Callas (Μαρία Κάλλας):  Gianni Schicchi - Puccini

Maria Callas (Μαρία Κάλλας): Gianni Schicchi - Puccini

[Vocaloid] Puccini / Kyrie - Messa di Gloria  [DTM]

[Vocaloid] Puccini / Kyrie - Messa di Gloria [DTM]

Note: This page includes sections of revised and reformatted content from Wikipedia.org.