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Giacomo Puccini (Uncredited)

Giacomo Puccini

Puccini emerged into the twentieth century music world as the "King of Verismo," not through the conducting background of Mascagni or through the skilled compositional ability of Giordano, but as a master of theater. Puccini wrote solely for the operatic stage and he understood the dramatic intensity and melodic poignancy of real life subject matter. Critics have sometimes dismissed his work as overly impassioned, melodramatic, and sentimental. The composer himself proclaimed, "The only music I can make is that of small things," although he admired the grander stylistic abilities of Verdi and Wagner. Despite that admiration, Puccini chose to concentrate on life's familiar bittersweet passions and intense emotional storms. Puccini emerged into the twentieth century music world as the "King of Verismo," not through the conducting background of Mascagni or through the skilled compositional ability of Giordano, but as a master of theater. Puccini wrote solely for the operatic stage and he understood the dramatic intensity and melodic poignancy of real life subject matter. Critics have sometimes dismissed his work as overly impassioned, melodramatic, and sentimental. The composer himself proclaimed, "The only music I can make is that of small things," although he admired the grander stylistic abilities of Verdi and Wagner. Despite that admiration, Puccini chose to concentrate on life's familiar bittersweet passions and intense emotional storms.

Puccini was born in Lucca, Italy and descended from a long line of musicians, conductors, and composers. It was assumed he would inherit the talent and interest to continue in his family's chosen craft. At the tender age of six years, upon his father's premature death, he fell heir to the position of choir master and organist at San Martino Church and professor of music at Collegio Ponziano. However, plans to preserve these posts for the young Puccini may as well have been canceled the day he hiked thirteen miles to the city of Pisa to witness a production of Giuseppe Verdi's latest work, Aida. He determined his own future at that moment, falling completely under the spell of opera, never to recover.

A stipend from a wealthy great-uncle and a scholarship from Queen Margherita herself supported Puccini in his education at the music conservatory in Milan. The great composers Antonio Bazzini and Amilcare Ponchielli taught the young musician; Ponchielli eventually encouraging Puccini's participation in a one-act opera competition sponsored by the publishing house of Sonzogno. Friends of Ponchielli even provided the libretto. Unfortunately, Puccini's first opera, La Villi , didn't take the prize. However, the powerful critic/librettist, Arrigo Boito, raised funds for its performance before appreciative audiences at La Scala and Ricordi published the score. The modest success bolstered Puccini's confidence, but provided little compensation. A second opera, Edgar , failed as the result of a poor libretto.

Puccini's persistence was rewarded with the production of Manon Lescaut . Premiered in February 1893 in Turin, the opera proved a resounding triumph. Puccini was suddenly established as a wealthy composer and artistic successor to Maestro Giuseppi Verdi. The two operas that followed, La Bohème and Tosca, achieved success gradually with Bohème peaking after three productions and Tosca, after five years of presentations throughout Europe.

As Puccini acquired substantial wealth, he took on the persona which accompanied him throughout the rest of his life as the "grand seigneur." He built a reputation as a dedicated game hunter, collector of cars and motor boats, and a great romantic figure. "I am almost always in love!," he declared, and defined himself as "a mighty hunter of wild fowl, operatic librettos and attractive women." His appreciation and compassion for women abounds in the substance of his operatic heroines, their valiant struggles and, most often, melancholy demise. He created these elegant, three-dimensional characters with the material of sweet and haunting melody. The innocent Mimi, embattled Tosca, abandoned Butterfly, embittered Turandot - each one a fascinating study in feminine psychology, each the perfect counterpart to an equally interesting tenor role. Puccini's own stormy relationship with Elvira Gemignani evoked a certain horror in fans and attracted something of a lurid interest from the general public. A married woman, she eloped with the composer and they were not married until some time after her husband's death. Seemingly an uninteresting and strangely unchallenging partner, she is said to have limited Puccini intellectually and emotionally, inexplicably cutting him off from most personal relationships with friends and other artists.

Eventually, she embroiled the household in scandal, hounding a young maid unmercifully with accusations of a liaison with her husband. The girl committed suicide and Elvira was jailed for five months. The Puccinis separated, then reconciled, but their relationship was forever damaged. Puccini fought hard to keep his difficult private life private, against impossible odds. "What a subject for an opera!," one social columnist exclaimed. During this tragic episode, despite his obvious emotional turmoil, the composer completed the opera La Fanciulla del West , which met with immediate acclaim.

Video and Audio

Manon Lescaut Uncredited

WNO Commentary: Manon Lescaut 8 of 8: Act Four - By New Orleans: Love and death in America (audio only)

WNO Commentary: Manon Lescaut 8 of 8: Act Four - By New Orleans: Love and death in America (audio only)

Musicologist Saul Lilienstein offers his commentary on Puccini's Manon Lescaut, featuring insights about the music and history. The WNO's production of Manon Lescaut is running from March 2nd to 23rd, 2013. Musical excerpts used courtesy of EMI Classics.

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Manon Lescaut Uncredited

WNO Commentary: Manon Lescaut 7 of 8: Act Three - At Le Havre: A square near the harbor (audio only)

WNO Commentary: Manon Lescaut 7 of 8: Act Three - At Le Havre: A square near the harbor (audio only)

Musicologist Saul Lilienstein offers his commentary on Puccini's Manon Lescaut, featuring insights about the music and history. The WNO's production of Manon Lescaut is running from March 2nd to 23rd, 2013. Musical excerpts used courtesy of EMI Classics.

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Manon Lescaut Uncredited

WNO Commentary: Manon Lescaut 6 of 8: Act Two - In Paris: Manon Lescaut and Des Grieux (audio only)

WNO Commentary: Manon Lescaut 6 of 8: Act Two - In Paris: Manon Lescaut and Des Grieux (audio only)

Musicologist Saul Lilienstein offers his commentary on Puccini's Manon Lescaut, featuring insights about the music and history. The WNO's production of Manon Lescaut is running from March 2nd to 23rd, 2013. Musical excerpts used courtesy of EMI Classics.

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Additional Resources

Review - "China Opening: Gergiev Does 'Turandot' Good and Loud" The Washington Post - Washington, D.C. (Feb. 21, 2006)

Upcoming Events

Fortas Chamber Music Concert: Enso String Quartet 11/12/2013 7:30 PM
Making their Fortas debut, Grammy-nominated, New York City-based Enso String Quartet plays a preview of their upcoming Naxos recording, String Quartets of the Great Opera Masters - Verdi, Puccini, and R. Strauss.

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