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.
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