A01=Harold Powers
A01=William Ashbrook
Alfredo Catalani
Amleto
Author_Harold Powers
Author_William Ashbrook
Beniamino Gigli
Brighella
Casa Ricordi
Castrato
Category=AVLF
Composer
Der Rosenkavalier
Die Frau ohne Schatten
Dies Irae
Don Carlos
Don Giovanni
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First appearance
Franco Alfano
Giacomo Puccini
Gianni Schicchi
Giovanna d'Arco
Grand Duet (John Thomas)
Hymn
Igor Stravinsky
Il tabarro
In questa reggia
Italian opera
Julian Budden
La fanciulla del West
La forza del destino
La rondine
La Scala
La traviata
Leading-tone
Libretto
Lohengrin (opera)
Lotte Lehmann
Manon Lescaut (Puccini)
Melodrama
Melodramma
Metonymy
Miguel Fleta
Mosco Carner
Music Is
Musical theatre
Nessun dorma
Olin Downes
Opera
Opera seria
Operetta
Otello
Otello (Rossini)
Overture
Pagliacci
Parody
Paul Hindemith
Philip Gossett
Phrase (music)
Piano-vocal score
Poliuto
Prince of Persia
Prolongation
Reprise
Rigoletto
Roger Parker
Rosa Raisa
Simon Boccanegra
Tartaglia (commedia dell'arte)
The Barber of Seville
The Nightingale and the Rose (opera)
Tonality
Tonic (music)
Turandot
Un ballo in maschera
Product details
- ISBN 9780691027128
- Weight: 312g
- Dimensions: 152 x 229mm
- Publication Date: 23 Apr 1991
- Publisher: Princeton University Press
- Publication City/Country: US
- Product Form: Paperback
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Unfinished at Puccini's death in 1924, Turandot was not only his most ambitious work, but it became the last Italian opera to enter the international repertory. In this colorful study two renowned music scholars demonstrate that this work, despite the modern climate in which it was written, was a fitting finale for the centuries-old Great Tradition of Italian opera. Here they provide concrete instances of how a listener might encounter the dramatic and musical structures of Turandot in light of the Italian melodramma, and firmly establish Puccini's last work within the tradition of Rossini, Bellini, Donizetti, and Verdi. In a summary of the sounds, sights, and symbolism of Turandot, the authors touch on earlier treatments of the subject, outline the conception, birth, and reception of the work, and analyze its coordinated dramatic and musical design. Showing how the evolution of the libretto documents Puccini's reversion to large musical forms typical of the Great Tradition in the late nineteenth century, they give particular attention to his use of contrasting Romantic, modernist, and two kinds of orientalist coloration in the general musical structure.
They suggest that Puccini's inability to complete the opera resulted mainly from inadequate dramatic buildup for Turandot's last-minute change of heart combined with an overly successful treatment of the secondary character.
