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Books > Arts & Architecture > Music > Western music, periods & styles > 20th century music
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The Puccini Companion (Paperback, Revised)
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The Puccini Companion (Paperback, Revised)
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Puccini wins the prize for most-maligned great composer. In a fit
of depressive self-deprecation, Puccini himself called his own
music "sugary,"and the persistent popularity of his mature operas
at box-offices around the world for nearly a century has too often
provoked critical condescension, as if art so well-loved could not
possibly be worth much. But that situation, thankfully, is
changing, and this much-needed essay collection on Puccini by
leading scholars of 19th- and 20th-century Italian opera is worth a
good deal more than several new biographies. The volume ranges from
a lengthy piece on Puccini's family by his granddaughter (one of
the editors) to chapters devoted to Puccini's "musical world" and
each of his operas by luminaries such as William Weaver, Harvey
Sachs, Fedele D'Amico, Verdi heavyweights Mary Jane Phillips-Matz
and Julian Budden, and William Ashbrook. A favorite: David
Hamilton's expert investigation of the early Tosca recordings,
especially the legendary "Mapelson cylinders" of live Metropolitan
Opera performances from 1902-03, to see what light they shed on
Puccini's original interpreters. The editors, perhaps hoping to
attract non-musicologist admirers of the Luccan master, issue the
disclaimer that "this is not a work of scholarship" (even though
two of the chapters make a start on an accessible Puccini
bibliography). They needn't have worried. Lovers of Puccini and
Italian opera at every level of interest and knowledge will want
this book. (Kirkus Reviews)
What forces helped shape the output of this high-living, often
arrogant, but immensely talented composer? This fascinating
collection includes Simonetta Puccini's essay full of intimate
details about her family, as well as writings by experts on the
racist politics behind the creation of "Madama Butterfly";
Puccini's fascination with American culture as exemplified in
"Fanciulla del West"; his grappling with twentieth-century musical
practices in "Trittico" and "Turandot"; and the changes that early
recording technology sparked in turn-of-the-century operatic
performance style.
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