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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.
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From Library Journal:
Puccini's final work, Turandot (1926), which was completed posthumously, is the last of the great Italian operas to enter the standard repertoire. Puccini had heard Stravinsky and Schoenberg by the 1920s, and he incorporated artistic trends of the day into his new opera. Ashbrook (humanities, Indiana State Univ.) and Powers (music, Princeton Univ.) examine the use of dissonance and exotic themes as well as Puccini's more melodic previous works in relation to the characters, with special emphasis on the two soprano-tenor duets. Turandot 's literary and musical roots, staging, and performance histories are investigated with convincing, richly detailed insights. Yet the many musical examples will be of little significance to readers not familiar with music scores and music theory. For collections supporting serious opera studies.
- James E. Ross, Seattle, Wash.
Copyright 1991 Reed Business Information, Inc.
- James E. Ross, Seattle, Wash.
Copyright 1991 Reed Business Information, Inc.
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- PublisherPrinceton University Press
- Publication date1991
- ISBN 10 0691027129
- ISBN 13 9780691027128
- BindingPaperback
- Edition number1
- Number of pages193
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