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| author | nfenwick <nfenwick@pglaf.org> | 2025-03-07 13:55:53 -0800 |
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| committer | nfenwick <nfenwick@pglaf.org> | 2025-03-07 13:55:53 -0800 |
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diff --git a/43873-h/43873-h.htm b/43873-h/43873-h.htm index 23fc9d3..f5ba479 100644 --- a/43873-h/43873-h.htm +++ b/43873-h/43873-h.htm @@ -2,7 +2,7 @@ "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> - <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Type" content="text/html;charset=UTF-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of Giacomo Puccini, by Wakeling Dry. @@ -274,45 +274,7 @@ i.opus {font-style: italic;} </head> <body> - - -<pre> - -The Project Gutenberg EBook of Giacomo Puccini, by Wakeling Dry - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: Giacomo Puccini - -Author: Wakeling Dry - -Release Date: October 3, 2013 [EBook #43873] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK GIACOMO PUCCINI *** - - - - -Produced by Charlie Howard and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - - - - - - -</pre> - +<div>*** START OF THE PROJECT GUTENBERG EBOOK 43873 ***</div> <div class="transnote browser"> <p class="center">Transcriber's note: On some devices, clicking a blue-bordered image will display a larger version of it.</p> @@ -413,12 +375,12 @@ EDITED BY ROSA NEWMARCH</p> <tr> <td class="tdl in4"><i class="cite">From a photograph lent by Messrs. Ricordi</i></td></tr> <tr> - <td class="tdl p1">MISS ALICE ESTY AS MIMI IN "LA BOHÈME"</td> + <td class="tdl p1">MISS ALICE ESTY AS MIMI IN "LA BOHÈME"</td> <td class="tdr"><a href="#i68">68</a></td></tr> <tr> <td class="tdl in4"><i class="cite">From a photograph lent by Madame Alice Esty</i></td></tr> <tr> - <td class="tdl p1">PUCCINI MANUSCRIPT SCORES. FROM THE LAST ACT OF "LA BOHÈME"</td> + <td class="tdl p1">PUCCINI MANUSCRIPT SCORES. FROM THE LAST ACT OF "LA BOHÈME"</td> <td class="tdr"><a href="#i72">72</a></td></tr> <tr> <td class="tdl in4"><i class="cite">From a photograph lent by Messrs. Ricordi</i></td></tr> @@ -493,7 +455,7 @@ EDITED BY ROSA NEWMARCH</p> <td class="tdr"><a href="#Page_50">50</a></td></tr> <tr> <td class="tdr top">VII.</td> - <td class="tdl">"LA BOHÈME"</td> + <td class="tdl">"LA BOHÈME"</td> <td class="tdr"><a href="#Page_68">68</a></td></tr> <tr> <td class="tdr top">VIII.</td> @@ -579,7 +541,7 @@ It must not be taken to mean that the old contrapuntists did not endeavour to combine the adherence to a form with some degree of definite expression; for in the works of one of the greatest of -this school, old Josquin des Près, are to be found +this school, old Josquin des Près, are to be found plenty of emotional touches by which, even in so restricted a pattern as the madrigal form, it was plain that a closer union between words and music—an @@ -648,7 +610,7 @@ operas, was one of the most remarkable things in modern musical history. And in the fulness of time we come to Puccini, to whom it is reasonable to point as the successor of Verdi. These two, who may be -linked up with reason with Boïto and Ponchielli, present +linked up with reason with Boïto and Ponchielli, present many features of resemblance. Puccini's musical expression, at first purely vocal, has in his later work shown that same growth in artistic development. @@ -662,7 +624,7 @@ had few experiments worked out in the way of the development of opera, it is safe to say that such new modern works as have been taken to our hearts have owed not a little to the orchestral part of the fabric. -Tchaikovsky's <i class="opus">Eugen Oniegin</i> and Humperdinck's <i class="opus">Hänsel +Tchaikovsky's <i class="opus">Eugen Oniegin</i> and Humperdinck's <i class="opus">Hänsel und Gretel</i> are at least two notable cases in point.</p> <p>But in whatever way we view an opera, mere @@ -698,7 +660,7 @@ everyday life for his subjects. In general form—for one must revert to this not particularly lucid description when dealing with opera—Puccini must be placed among the shining lights who have chosen to deal -with what may be called light opera. <i xml:lang="fr" lang="fr">Opéra comique</i>, +with what may be called light opera. <i xml:lang="fr" lang="fr">Opéra comique</i>, as translated by our term "comic opera," means something so entirely different, that although "light opera" is but a poor expression, it is one that may perhaps @@ -749,7 +711,7 @@ And lest there be any misunderstanding, let it be said that hardly one of Puccini's songs or dramatic numbers can be pointed to as making this or that opera an accepted favourite. "Che gelida manina" from -<i class="opus">La Bohème</i> is trotted out by not a few budding tenors, +<i class="opus">La Bohème</i> is trotted out by not a few budding tenors, and it may be occasionally heard at a ballad concert, but even this is not sung one-tenth as many times as, say, the prologue to <i class="opus">I Pagliacci</i>, leaving out of the @@ -889,7 +851,7 @@ composition seems to have descended upon him, and certainly, if not in actually a novel way, a rather disconcerting one. During the offertory, and at other places in the Mass, it was the custom of the organist -to improvise a more or less extended <i xml:lang="fr" lang="fr">pièce d'occasion</i>, a +to improvise a more or less extended <i xml:lang="fr" lang="fr">pièce d'occasion</i>, a custom which still obtains. The officiating priests were more than occasionally startled by hearing, mixed up with these spirited improvisations of their young @@ -920,7 +882,7 @@ another early composition, a motet for the feast of San Paolina, was performed. With these successes, Lucca and its restricted area, with the evidently uncongenial work of a church organist, soon became entirely distasteful -to him, and after hearing Verdi's <i class="opus">Aïda</i> at the +to him, and after hearing Verdi's <i class="opus">Aïda</i> at the theatre, his mind was made up. To Milan, the Mecca of the young Italian musician, he must go.</p> @@ -984,7 +946,7 @@ method by Angeloni, which is very simple.</p> At one I return home and study Bazzini's lesson for a couple of hours; after that from three to five I go to the piano again and play some classic. I -have been playing through Boïto's <i class="opus">Mefistofele</i>, a kind +have been playing through Boïto's <i class="opus">Mefistofele</i>, a kind friend having given me the vocal score. On! how I wish I had money enough to buy all the music I want to get!</p> @@ -1126,18 +1088,18 @@ achievement.</p> <p>Puccini was living at this time in a poor quarter of Milan with his brother and another student. With the -£80 he received for <i class="opus">Le Villi</i> he paid away nearly half of +£80 he received for <i class="opus">Le Villi</i> he paid away nearly half of it to the restaurant keeper who had allowed him credit.</p> <p>Milan, the chief operatic centre of opera-loving Italy, is full of music schools, agencies, restaurants -and cafés, whose reason for existence, practically, +and cafés, whose reason for existence, practically, is found in the fact that half the population is in one way or another connected with the operatic stage. Milan is even more Bohemian than Paris in this respect, and it is not difficult to understand why the subject of unconventionality, as treated -by Puccini in <i class="opus">La Bohème</i>, should have come to him<span class="pagenum"><a name="Page_20" id="Page_20">20</a></span> +by Puccini in <i class="opus">La Bohème</i>, should have come to him<span class="pagenum"><a name="Page_20" id="Page_20">20</a></span> with such force. He had, in fact, gone through the whole thing completely, so far as living on nothing and making all sorts of shifts for existence were concerned. @@ -1163,12 +1125,12 @@ herring put down; and on this being brought to Puccini's recollection, he laughingly said: "Oh, yes, I remember. That was a supper for four people."</p> -<p>As will be seen in the chapter on <i class="opus">La Bohème</i>, this +<p>As will be seen in the chapter on <i class="opus">La Bohème</i>, this incident was made use of by the librettists in the third act of that opera.</p> <p>From the Congregation of Charity at Rome, Puccini -was in receipt at this time of £4 per month. The sum +was in receipt at this time of £4 per month. The sum used to come in a registered letter on a certain day, and he and his companions usually had to suffer the landlord to open it and deduct, first, his share for the<span class="pagenum"><a name="Page_21" id="Page_21">21</a></span> @@ -1224,7 +1186,7 @@ flows just by the spot where Shelley's body was washed ashore and afterwards burned—was an ideal spot to which his thoughts had often turned. He went there to reside first in 1891, about the time he was -writing <i class="opus">La Bohème</i>; but some time before that he had +writing <i class="opus">La Bohème</i>; but some time before that he had found a partner of his joys in Elvira Bonturi, who, like himself, came from Lucca, and whom he married. Their only son, Antonio, was born in the December of @@ -1238,7 +1200,7 @@ a Paradise.</p> <p>Before finally deciding on a site at Torre del Lago—the Tower of the Lake—Puccini stayed for a time at Castellaccio, near Pescia, where a good deal of -<i class="opus">La Bohème</i> was put to paper. <i class="opus">Tosca</i> was begun at +<i class="opus">La Bohème</i> was put to paper. <i class="opus">Tosca</i> was begun at Torre del Lago, and finished during a visit at the<span class="pagenum"><a name="Page_23" id="Page_23">23</a></span> country house, Monsagrati, not far from Lucca, of his friend the Marquis Mansi. At the time of <i class="opus">Madama @@ -1303,7 +1265,7 @@ really able to walk again properly until he had been to Paris—where his <i class="opus">Tosca</i> was produced at the Opera Comique—and undergone a special treatment at the hands of a French specialist. His first visit to Paris -had been in 1898 for the rehearsals of <i class="opus">La Bohème</i>.</p> +had been in 1898 for the rehearsals of <i class="opus">La Bohème</i>.</p> <div class="figcenter" style="width: 490px;"><img id="i24" src="images/i045.jpg" width="490" height="319" alt="" /><br /><div class="caption"><p>PUCCINI IN HIS 24-H.P. "LA BUIRE"</p> @@ -1312,7 +1274,7 @@ had been in 1898 for the rehearsals of <i class="opus">La Bohème</i>.</p> <p>Puccini visited London for the first time when he<span class="pagenum"><a name="Page_25" id="Page_25">25</a></span> came over for the production of <i class="opus">Manon</i> at Covent Garden in 1894. He came again in 1897 for the production -in English of <i class="opus">La Bohème</i> at Manchester by the +in English of <i class="opus">La Bohème</i> at Manchester by the Carl Rosa Company. This was not, by all accounts, one of his most pleasant visits to a country of which he is very fond. Apart from the nervous worry of a first @@ -1341,7 +1303,7 @@ London, but life there flies. My chief friends were Zola, Sardou and Daudet."</p> <p>It was when Puccini was in Paris for the production -of <i class="opus">La Bohème</i> that he first met Sardou and arranged +of <i class="opus">La Bohème</i> that he first met Sardou and arranged about the setting of <i class="opus">La Tosca</i>. Sardou invited him to dinner, and after the coffee and cigars asked him to<span class="pagenum"><a name="Page_26" id="Page_26">26</a></span> play a little of the music he thought of putting in the @@ -1437,7 +1399,7 @@ and the writer of the book. Marie Antoinette, at the time when I had the pleasure of talking with him, was the subject for an opera which was, at least, uppermost in his mind. "But I have thought of many -subjects and stories," he said. "La Faute de l'Abbé +subjects and stories," he said. "La Faute de l'Abbé Mouret and the Tartarin of Daudet are two well-known ones. The latter is pure fun, but I have always thought, when coming to the point, that I @@ -1498,7 +1460,7 @@ May 31, 1884, and the cast as follows:</p> <p>When one thinks of modern extravagance, supposedly so necessary for the production of a new play or musical<span class="pagenum"><a name="Page_31" id="Page_31">31</a></span> piece, it is little short of amazing to learn that the first -performance of <i class="opus">Le Villi</i> cost a little over £20. Of +performance of <i class="opus">Le Villi</i> cost a little over £20. Of course the main expenses were the costumes and the copying of the orchestral parts. Puccini's fellow-students, with that generous enthusiasm which is ever @@ -1630,7 +1592,7 @@ and to the opening prelude is attached a short note explanatory of what has happened in the meanwhile. "In those days there was in Mayence a siren, who bewitched all who beheld her, old and young." Like<span class="pagenum"><a name="Page_35" id="Page_35">35</a></span> -the presiding spirit of the Venusberg who held Tannhäuser +the presiding spirit of the Venusberg who held Tannhäuser in thrall, so Roberto is attracted to her unholy orgies and Anna is forgotten. Worn out by grief and hopeless longing Anna dies, and in the opening chorus @@ -1724,14 +1686,14 @@ exultation.</p> gave unmistakable evidence of that power of giving, by a series of detached scenes, an idea of impressionistic atmospheric quality which was afterwards so -beautifully achieved in his <i class="opus">La Bohème</i>. From the +beautifully achieved in his <i class="opus">La Bohème</i>. From the criticism of Sala, who, as we saw in a preceding chapter, was present at the meeting at Ponchielli's<span class="pagenum"><a name="Page_38" id="Page_38">38</a></span> house which led to the production of the opera, we get a sound idea of the general effect and trend of the music, which is worth quoting. It appeared in <i class="opus">Italia</i> of the day after the performance, at which, it -may be mentioned, Boïto applauded vigorously from a +may be mentioned, Boïto applauded vigorously from a box.</p> <p>"It is, according to our judgment, a precious little @@ -2004,7 +1966,7 @@ retinue, which included carriages, women-kind, and all sorts of paraphernalia, but imagined that they were only to meet a handful of ignorant churls. There is a chapel on one side of the scene, and distant trumpet -calls are heard as a funeral <i xml:lang="fr" lang="fr">cortège</i> proceeds to range +calls are heard as a funeral <i xml:lang="fr" lang="fr">cortège</i> proceeds to range itself around a hearse, and the monks in the procession light tapers.</p> @@ -2128,7 +2090,7 @@ well be permitted the test of a revival.</p> <span class="subhead">"MANON"</span></h2> <p>Auber was the first opera-composer to be attracted by -the Abbé Prévost's famous romance <i class="opus">Manon Lescaut</i>. +the Abbé Prévost's famous romance <i class="opus">Manon Lescaut</i>. It is one of those vivid stories of love and passion which have ever made an appeal to those in search of a theme for musical expression. As drama it has a @@ -2146,8 +2108,8 @@ with material for practically all time.</p> <div class="caption">PUCCINI'S MANUSCRIPT SCORES, FROM THE SECOND ACT OF "TOSCA"</div> </div> -<p>The chief romances of the Abbé are the <i class="opus">Mémoires -d'un Homme de Qualité</i>, <i class="opus">Cleveland</i>, and <i class="opus">Doyen de Killerine</i> +<p>The chief romances of the Abbé are the <i class="opus">Mémoires +d'un Homme de Qualité</i>, <i class="opus">Cleveland</i>, and <i class="opus">Doyen de Killerine</i> (the two latter, by the way, books which show the result of his sojourn in England). While these exhibit certain well-marked qualities, they are completely cast @@ -2156,7 +2118,7 @@ one of the greatest novels of the eighteenth century, while, from its characterisation, it may be pointed to as the father of the modern novel. The Chevalier des<span class="pagenum"><a name="Page_51" id="Page_51">51</a></span> Grieux is an embodiment of the saying "Love first and -the rest nowhere," and it is curious that the Abbé +the rest nowhere," and it is curious that the Abbé made a French translation of Dryden's once famous play on the same theme, <i class="opus">All for Love</i>. Manon, as a creation, is a triumph, one of the most remarkable @@ -2186,7 +2148,7 @@ justice to Oliva, his name as the author of the libretto was removed from the published score.</p> <p>It was produced in 1893 at the Regio Theatre, Turin, -on the 1st of February, conducted by Alexander Pomé, +on the 1st of February, conducted by Alexander Pomé, and cast as follows:</p> <p><span class="pagenum"><a name="Page_52" id="Page_52">52</a></span></p> @@ -2271,7 +2233,7 @@ she very quickly decides to run away to Paris, and give her brother the slip. At first honourable intentions as to the pretty and confiding Manon's future seem to weigh with the lover, but in the second act we -find them installed in the customary <i xml:lang="fr" lang="fr">ménage à deux</i>, +find them installed in the customary <i xml:lang="fr" lang="fr">ménage à deux</i>, Des Grieux's father having declined to give his consent to a marriage. Thus almost at the beginning Fate seems to be against Manon, and she accepts only too @@ -2280,7 +2242,7 @@ easily the situation and—drifts. Des Grieux's easy to understand why the offers of the aristocrat De Bretigny are too tempting for Manon to refuse. To him she transfers her affections, and we next see her -established at Cours-la-Reine, the fêted and admired +established at Cours-la-Reine, the fêted and admired mistress of Bretigny. But during the ball she hears that her former lover has renounced the world with its pomps and vanities and is preparing to take orders.<span class="pagenum"><a name="Page_54" id="Page_54">54</a></span> @@ -2317,7 +2279,7 @@ spirit which underlies the pathetic tragedy. In short, Puccini's <i class="opus">Manon</i>—music and story, for it is impossible to separate them—exhibits that skilful picturing of the<span class="pagenum"><a name="Page_55" id="Page_55">55</a></span> theme which is even more apparent in the subsequent -work, <i class="opus">La Bohème</i>.</p> +work, <i class="opus">La Bohème</i>.</p> <p>In Puccini's opera we find after the meeting of Manon and Des Grieux at the inn at Amiens that the @@ -2397,7 +2359,7 @@ to pop off very quickly to Paris in a short time. Edmund overhears this little plot, and discloses it to his friend Des Grieux. A short characteristic orchestral passage with a changing unrestful rhythm leads up -to Manon's entrance. With a <i xml:lang="fr" lang="fr">naïveté</i> expressed in the +to Manon's entrance. With a <i xml:lang="fr" lang="fr">naïveté</i> expressed in the music she sings, she comes to Des Grieux and tells him that she has kept her thoughtless promise. In a beautifully phrased impassioned passage Des Grieux @@ -2411,7 +2373,7 @@ old reprobate to abduct her, and urges her to escape with himself.</p> <p>Edmund now tells Geronte of the escape of his prize, -and that disappointed old <i xml:lang="fr" lang="fr">roué</i> tries to rouse the<span class="pagenum"><a name="Page_58" id="Page_58">58</a></span> +and that disappointed old <i xml:lang="fr" lang="fr">roué</i> tries to rouse the<span class="pagenum"><a name="Page_58" id="Page_58">58</a></span> brother from his lethargy. Lescaut decides that pursuit is worthless, and suggests following the pair to Paris, whither he is sure they have gone. Geronte stifles @@ -2456,7 +2418,7 @@ orchestral measure of the character of a minuet, with its fanciful little trills and twirls, but with its syncopated bass to preserve the idea of movement and progress. The dancing-master gives some hints in -deportment to Manon, and the chorus of Abbés and +deportment to Manon, and the chorus of Abbés and other friends of Geronte's murmur their admiration at her graces. In a spirited little number Manon, who has politely told the company not to interrupt her @@ -2515,7 +2477,7 @@ the imprisonment of Manon, and secondly the sad journey to Havre, the port whence the <i xml:lang="fr" lang="fr">filles de joie</i>—how intensely sad is the irony of the description!—are to be taken over seas. To the score is appended a -quotation from the Abbé Prévost's story, giving the +quotation from the Abbé Prévost's story, giving the clue to the strain of passion that comes in the music of this number, and blends skilfully with the sadness and the sense of movement which are its leading @@ -2641,7 +2603,7 @@ Puccini, the much applauded author of <i class="opus">Manon Lescaut</i>." After pointing out the differences in the two books, he says that they offer the same amount of similarity the one to the other as do those of Gounod's <i class="opus">Faust</i> and<span class="pagenum"><a name="Page_65" id="Page_65">65</a></span> -Boïto's <i class="opus">Mefistofele</i>. "The seeds of Wagnerian reform +Boïto's <i class="opus">Mefistofele</i>. "The seeds of Wagnerian reform have not fallen on barren ground. Puccini reveals himself in <i class="opus">Manon</i> as a composer gifted with strong dramatic power, possessing an apparently innate feeling @@ -2720,9 +2682,9 @@ bust of the Queen.</p> <h2><a name="VII" id="VII">VII</a><br /> -<span class="subhead">"LA BOHÈME"</span></h2> +<span class="subhead">"LA BOHÈME"</span></h2> -<p>The mere fact that <i class="opus">La Bohème</i>, Puccini's fourth work, +<p>The mere fact that <i class="opus">La Bohème</i>, Puccini's fourth work, to which he gave the plain title of opera, is his most popular composition for the stage, makes one all the more inclined to search more minutely for weaknesses. @@ -2754,7 +2716,7 @@ unquestionably as its most striking feature.</p> <p>Illica and Giocosa provided the book, and their idea in providing the framework is clearly indicated by the prefatory note to the vocal score. They begin with a -quotation from the preface to Murger's <i class="opus">Vie de Bohème</i>, +quotation from the preface to Murger's <i class="opus">Vie de Bohème</i>, of which the thoroughly impressionistic opera is a most spirited musical expression. <i class="opus">The Bohemians</i>, under which title the opera was first presented in @@ -2794,7 +2756,7 @@ spirit of the dramatic scheme, which is atmospheric, or purely impressionistic. The supremacy of his art is shown in a very marked way by the preservation of the continuity of the idea by the musical expression. -In this <i class="opus">La Bohème</i> stands as a very notable modern +In this <i class="opus">La Bohème</i> stands as a very notable modern work solely because of its absolute keeping to the idea which dominates it. Leoncavallo set the same story to music, writing the book himself. As a mere adaptation @@ -2804,10 +2766,10 @@ France and Germany, may be pointed to as offering certain points of superiority. But the music is certainly not atmospheric nor impressionistic, and the two works never really come into rivalry. Puccini's -<i class="opus">La Bohème</i> is absolutely on its own plane, and in its +<i class="opus">La Bohème</i> is absolutely on its own plane, and in its own particular way supreme.</p> -<p><i class="opus">La Bohème</i> was composed partly at Torre del Lago +<p><i class="opus">La Bohème</i> was composed partly at Torre del Lago and partly in a villa which Puccini took for a time at Castellaccio, near Pescia. It was given for the first time at the Teatro Regio, Turin, on February 1, 1896, @@ -2893,7 +2855,7 @@ to say, the part of Mimi was first offered to Mdlle. Zelie de Lussan, the well-known exponent of the part of Carmen, not only in English, but in French as well. The photograph of Mdme. Alice Esty shows her in the -last Act of <i class="opus">La Bohème</i>; and it will be noticed that she +last Act of <i class="opus">La Bohème</i>; and it will be noticed that she wears, not the customary black gown of the little seamstress, but one of some pretensions to magnificence. She followed, she told me, the idea of the @@ -2906,11 +2868,11 @@ in the text.</p> <div class="figcenter" style="width: 453px;"> <a href="images/i107l.jpg"> <img class="lborder" id="i72" src="images/i107.jpg" width="453" height="600" alt="" /></a><br /> - <div class="caption">PUCCINI'S MANUSCRIPT SCORES. FROM THE LAST ACT OF "LA BOHÈME"</div> + <div class="caption">PUCCINI'S MANUSCRIPT SCORES. FROM THE LAST ACT OF "LA BOHÈME"</div> </div> <p>I have also talked with Puccini about this first -English performance of <i class="opus">La Bohème</i>. "I always feel +English performance of <i class="opus">La Bohème</i>. "I always feel about past performances," he said, "in the same way as dead people. Let us say nothing about them but good. But I shall never forget the shock it was to me @@ -2962,7 +2924,7 @@ appears in the last scene in an even more elaborate<span class="pagenum"><a name evening gown of pale blue satin, with a cloak, and dispenses with a hat.</p> -<p><i class="opus">La Bohème</i> was brought to London after its first +<p><i class="opus">La Bohème</i> was brought to London after its first production, as we have seen, and was played about twenty times that season. The Covent Garden production in Italian was two years later, on June 30, @@ -3012,7 +2974,7 @@ we have practically the same cast as that with which this opera at the present time fills Covent Garden; invariably one of its most brilliant audiences.</p> -<p>In June 1898 Paris saw <i class="opus">La Bohème</i> at the Opera +<p>In June 1898 Paris saw <i class="opus">La Bohème</i> at the Opera Comique, for which performance the composer visited the French Capital, for the first time, to superintend some of the first rehearsals. It went to America in @@ -3042,7 +3004,7 @@ if it hardly ever assumes the proportions, musically considered, of a leading theme, at least flavours very strongly the whole musical fabric. It may well be taken to represent the free unrestrained spirit of the -<span class="smcap">Vie de Bohème</span>. The curtain rises quickly, and we see +<span class="smcap">Vie de Bohème</span>. The curtain rises quickly, and we see an attic, inhabited by the quartet of gay spirits, those bold adventurers, as Murger calls them, who are stopped by nothing—rain or dust, cold or heat. Every @@ -3071,7 +3033,7 @@ comes in to collect his much overdue rent. That worthy is amazed to find his tenants can pay it, and after taking a glass with them, and chatting about his <i xml:lang="fr" lang="fr">amours</i>, the four irresponsibles get rid of him. They -then decide on a visit to the café Momus in the Latin +then decide on a visit to the café Momus in the Latin quarter, and leave Rodolfo behind for a space, as he has to finish an article for the <i class="cite">Beaver</i>. "Be quick, then," says Marcello, "and cut the <i class="cite">Beaver's</i> tale short."</p> @@ -3111,7 +3073,7 @@ table. With a full confession of her love, Mimi takes Rodolfo's arm, and their last notes, "My love, my love," are heard as they descend the staircase.</p> -<p>At the café Momus—the exterior of which we see +<p>At the café Momus—the exterior of which we see as the curtain rises on the second Act, preceded by a clever and vivacious phrase given to the trumpets in the orchestra—our four brave Bohemians were known @@ -3143,7 +3105,7 @@ references to the bitter cold in the preceding Act. At any rate, whether the dramatist's license be allowed or not—and we may easily imagine a flight of time to have taken place since the happenings in the -opening Act—the café Momus, in this second Act, is +opening Act—the café Momus, in this second Act, is so full that our quartet of Bohemians, with Musetta and her elderly admirer, take their supper <i xml:lang="fr" lang="fr">en plein air</i>. There is little of incident, or progress of events, in @@ -3217,7 +3179,7 @@ one is no more, does the curtain fall.</p> <p>There is little to point to in the music save its chief and outstanding feature, its continuity. In this the whole charm and strength of the work lies. -Orchestrally, the score of <i class="opus">La Bohème</i> is a beautifully +Orchestrally, the score of <i class="opus">La Bohème</i> is a beautifully polished one, not so symphonically complete as <i class="opus">Manon</i> for instance, but essentially individual. For fulness<span class="pagenum"><a name="Page_81" id="Page_81">81</a></span> as a constructional background one may point to the @@ -3226,7 +3188,7 @@ of effect, the use of harmonics on the harp against the muted strings in Musetta's waltz-song; while many happy touches are seen all through, such as the xylophone and muted trumpets at the toy-sellers' entrance -in the café scene; or again, the striking passage in +in the café scene; or again, the striking passage in fifths at the opening of the third Act, given to the harp and flutes over the 'cellos playing <i xml:lang="la" lang="la">tremolo</i>. The orchestra employed is the usual large modern @@ -3246,7 +3208,7 @@ although, by all accounts I have heard from those who took part in the performance, Puccini adopted the custom—followed, if we may believe certain traditions, by certain notable playwrights—of wandering up and -down the streets until the <i xml:lang="fr" lang="fr">première</i> was over.</p> +down the streets until the <i xml:lang="fr" lang="fr">première</i> was over.</p> <p>The writer of the notice in question places the work on a higher level than <i class="opus">Manon</i>, speaks of the highly @@ -3275,7 +3237,7 @@ triumph, in spite of the leading tenor's hoarseness.</p> <p>With his next opera—for <i class="opus">Tosca</i> is the only one of his works so entitled by the composer—Puccini made a rather curious reversal of the proceedings as compared -with <i class="opus">La Bohème</i>, taking it from an Italian story treated +with <i class="opus">La Bohème</i>, taking it from an Italian story treated from the French point of view. From the old world story of Murger, Puccini turned to a notable example of modern French stagecraft, in Sardou's drama of <i class="opus">La @@ -3286,14 +3248,14 @@ itself altogether to musical expression, but one which certainly grips the attention and carries the hearer along. By <i class="opus">Tosca</i>, Puccini certainly sustained his now universal popularity made manifest by the preceding -<i class="opus">La Bohème</i>. It was given first at the Costanzi Theatre, +<i class="opus">La Bohème</i>. It was given first at the Costanzi Theatre, Rome, on January 14, 1900, conducted by Mugnone, and cast as follows:</p> <table class="cast" summary="cast"> <tr> <td class="tdl"><i>Tosca</i></td> - <td class="tdl"><span class="smcap">Darclée</span>.</td></tr> + <td class="tdl"><span class="smcap">Darclée</span>.</td></tr> <tr> <td class="tdl"><i>Cavaradossi</i></td> <td class="tdl"><span class="smcap">De Marchi</span>.</td></tr> @@ -3375,7 +3337,7 @@ horrible than impressive, and lacks that restraint and poetry which are two necessary qualities. This much must be said for the operatic version. It is a shade less revolting, less purely realistic than the drama, and -it undoubtedly provides a splendid acting <i xml:lang="fr" lang="fr">rôle</i> for the +it undoubtedly provides a splendid acting <i xml:lang="fr" lang="fr">rôle</i> for the exponent of the name part; while the lover, and the villain—Scarpia, the chief of the police—are provided with opportunities, very little behind, in point of vocal @@ -3427,7 +3389,7 @@ followed, he opens the gate in the grille of the chapel and disappears.</p> <p>A light tripping figure ushers in the Sacristan, and -it continues for a space while he walks to the daïs, on +it continues for a space while he walks to the daïs, on which is an easel and a covered picture. He complains of the bother he has in washing the brushes of the artist who is painting an altar-piece. He is surprised @@ -3439,7 +3401,7 @@ and the Sacristan kneels and continues the prayer.</p> <div class="figcenter" style="width: 336px;"><img id="i86a" src="images/i125a.jpg" width="336" height="252" alt="" /><br /><div class="caption">PUCCINI WRESTLING AT POMPEII</div></div> <p>Cavaradossi now comes in, and a broad melodious -phrase is heard as he ascends the daïs and uncovers<span class="pagenum"><a name="Page_87" id="Page_87">87</a></span> +phrase is heard as he ascends the daïs and uncovers<span class="pagenum"><a name="Page_87" id="Page_87">87</a></span> the picture. The Sacristan is amazed to find that it represents the features of a lady who has been frequently to pray in the church, and is further shocked @@ -3805,7 +3767,7 @@ so cruelly wronged her, and her last words are: "O Scarpia, we shall face God together!"</p> <p>In pure orchestration, Puccini in <i class="opus">Tosca</i> shows an -advance on <i class="opus">La Bohème</i>, in the general symphonic fulness +advance on <i class="opus">La Bohème</i>, in the general symphonic fulness and in the more extended use of representative themes. The orchestra employed is the usual large orchestra of the moderns, and Puccini adds a third @@ -3932,7 +3894,7 @@ name part, and her photograph as Butterfly is among his collection of celebrities at Torre del Lago.</p> <p>The story is a slight one, and is no more Japanese -than the plot of <i class="opus">La Bohème</i> is French. It is a presentation +than the plot of <i class="opus">La Bohème</i> is French. It is a presentation of the universal theme of a man's passion, which is an episode, and a woman's love, which is her life. A little Japanese girl is wooed and won by an @@ -4003,7 +3965,7 @@ and it was cast as follows:</p> <td class="tdl"><i>Zio Bonzo</i></td> <td class="tdl"><span class="smcap">Venturini</span>.</td></tr> <tr> - <td class="tdl"><i>Yakusidé</i></td> + <td class="tdl"><i>Yakusidé</i></td> <td class="tdl"><span class="smcap">Wulmann</span>.</td></tr> </table> @@ -4011,7 +3973,7 @@ and it was cast as follows:</p> popularity a strange thing happened with the first production of this new opera, and the composer went through a similar experience to that which Wagner had -to suffer when <i class="opus">Tannhäuser</i> was first given in Paris. +to suffer when <i class="opus">Tannhäuser</i> was first given in Paris. The audience simply howled with derision. For the reason of this it is difficult to account. The storm of disapproval began after the first few bars of the opening @@ -4084,7 +4046,7 @@ was cast as follows:</p> <td class="tdl"><i>Zio Bonzo</i></td> <td class="tdl"><span class="smcap">Cotreuil.</span></td></tr> <tr> - <td class="tdl"><i>Yakusidé</i></td> + <td class="tdl"><i>Yakusidé</i></td> <td class="tdl"><span class="smcap">Rossi.</span></td></tr> </table> @@ -4138,7 +4100,7 @@ American flag in the baby's hand. Pinkerton comes in time to see her pass away, and in calling her name in an outburst of sorrow and remorse, the story ends.</p> -<p>In <i class="opus">La Bohème</i> it has been seen how singularly +<p>In <i class="opus">La Bohème</i> it has been seen how singularly happy Puccini was in stringing together, by the flow of his music, a dramatic scheme that is concerned with detached scenes and incidents; and in <i class="opus">Madama @@ -4240,7 +4202,7 @@ fresh and pleasing effect is obtained by the use of a humming with closed lips, by the chorus outside, of the melody, supported by the somewhat unusual instrument, a viol d'amore. It is a curious instance, and probably -the first, of the use of this "bouche fermée" effect as<span class="pagenum"><a name="Page_110" id="Page_110">110</a></span> +the first, of the use of this "bouche fermée" effect as<span class="pagenum"><a name="Page_110" id="Page_110">110</a></span> an integral part of the orchestration. For a special effect, Puccini also adds to his score in another place the Hungarian instrument, a czimbalom, added to the @@ -4299,7 +4261,7 @@ of the opera in question.</p> <p>"The story itself, as arranged by the Italian librettists, has also grave defects as the subject of an opera. The character of Madame Butterfly herself, with her -<i xml:lang="fr" lang="fr">naïve</i> love for the American naval officer, her belief +<i xml:lang="fr" lang="fr">naïve</i> love for the American naval officer, her belief that she is a real American bride and that he will return to lift her once more into the paradise from which she was so cruelly cast out by his departure, @@ -4349,7 +4311,7 @@ by a clever musical <i xml:lang="fr" lang="fr">ensemble</i>, and the whole drama is drawn together by Puccini's sense of atmosphere.... Madame Butterfly herself is a musical creation. The composer could not, of course, make her Japanese, -but very poetically he has made her musically <i xml:lang="fr" lang="fr">naïve</i> +but very poetically he has made her musically <i xml:lang="fr" lang="fr">naïve</i> and sincere. She is a fascinating figure from the moment when she appears singing of her happiness in having been honoured by the American's choice. Her @@ -4366,7 +4328,7 @@ worship before dying with honour she is not made to rant by the composer. A German would not have forgotten Isolde's Liebestod; a Mascagni would have remembered his own Santuzza; a Verdi would have -metamorphosed the Geisha into an Aïda; but Puccini +metamorphosed the Geisha into an Aïda; but Puccini has kept to his conception of the character and she is never once allowed to express herself on the heroic scale."</p> @@ -4498,7 +4460,7 @@ is expressed with force and fluency; while a short and judiciously described bibliography and a list of the master's music complete this newest volume in a scheme which bids fair to develop into a collection of thoroughly original and excellent monographs, which will be for the average amateur (and not a few -professionals) uniformly more useful than many an encyclopædia or dictionary."—<i class="cite">Evening +professionals) uniformly more useful than many an encyclopædia or dictionary."—<i class="cite">Evening Standard.</i></p></blockquote> <div class="bdrb0"> @@ -4574,7 +4536,7 @@ Author. Demy 8vo. 7s. 6d. net. Second Edition.</p> <p>"On almost every page there are sentences which might well be committed to memory."—<i class="cite">Times.</i></p> -<p>"The book is a valuable and stimulating contribution to musical æsthetics; +<p>"The book is a valuable and stimulating contribution to musical æsthetics; it is animated throughout by a lofty conception of the responsibilities of the artist, and it enforces with spirit and with eloquence the sound and wholesome doctrine that the vitalising element of song is thought."—<i class="cite">Spectator.</i></p> @@ -4596,7 +4558,7 @@ renders conspicuous service to art, and deserves the highest praise."</p> <blockquote> <p>"In this book of penetrating and brilliant essays we have the most valuable -contribution of the year so far to musical æsthetics."—<i class="cite">Manchester Guardian.</i></p> +contribution of the year so far to musical æsthetics."—<i class="cite">Manchester Guardian.</i></p> <p>"Mr. Newman writes with a rare sympathy and an extraordinary insight."</p> @@ -4636,7 +4598,7 @@ M. EDOUARD COLONNE } <p> Mr. FRITZ KREISLER<br /> -M. PAUL KOCHÀNSKY<br /> +M. PAUL KOCHÀNSKY<br /> <span class="in2">(The new Russian Violinist)</span><br /> <span class="smcap">Miss MAUD MacCARTHY</span><br /> @@ -4662,7 +4624,7 @@ Mr. HERMAN SANDBY<br /> <p> Mr. MARK HAMBOURG<br /> <span class="smcap">Miss</span> FANNY DAVIES<br /> -<span class="smcap">Herr ERNST von DOHNÀNYI</span><br /> +<span class="smcap">Herr ERNST von DOHNÀNYI</span><br /> <span class="smcap">Madame</span> SANDRA DROUCKER<br /> <span class="smcap">Miss</span> KATHARINE GOODSON<br /> Mr. PERCY GRAINGER<br /> @@ -4739,382 +4701,6 @@ is not in the List of Illustrations.</p> <p>Page <a href="#Page_100">100</a>: Missing closing quotation mark added after 'at least equal to his.'.</p> </div> - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Giacomo Puccini, by Wakeling Dry - -*** END OF THIS PROJECT GUTENBERG EBOOK GIACOMO PUCCINI *** - -***** This file should be named 43873-h.htm or 43873-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/3/8/7/43873/ - -Produced by Charlie Howard and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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